CHARLIE CROCKETT, $10 COWBOY

Charlie Crockett's output of studio albums since 2015 has been prolific. Twelve in all! For me, 2022's The Man from Waco was a highlight. But his latest album, $10 Cowboy is in a league by itself. 

“America is a place where the casino that is America is rigged in favour of the house, but you can still win. Every American knows and believes that, on some level. That’s very much what makes us American. Travelling the world, you see the darkness and the beauty in it. There’s a lot of darkness. The fact that we even get to roll the dice, I know there’s a great amount of privilege that comes at the expense of a lot of the world that we just deal with or that I’m aware of as a traveller”.

Charlie Crockett

Crockett is a singular storyteller, and on $10 Cowboy, he weaves stories of this America. They are ones filled with characters who are struggling and succeeding, winning and losing, but hopeful and resilient. There’s a timelessness to his approach, as though these tales could have been told over campfires or in smoky backrooms of roadside bars today. Crockett’s ability to balance the grit of hard truths with the glimmer of hope feels uniquely his own. Backed by a stellar band, with horns that dance and strings that ache, Crockett has simply never sounded better. His voice, a mixture of weariness and determination, grounds each track with authenticity. A $10 cowboy…he is not, but he sure knows how to tell their stories.

MANNEQUIN PUSSY, I GOT HEAVY

Not many album covers grab my attention anymore. Just about everything has been done that can be done. But I was struck by the cover Mannequin Pussy’s new, fourth album, I got Heaven. A nude woman and a pig. Is she leading the pig to safety or slaughter? And why no clothes? This imagery reflects the album’s central themes of introspection and decision-making. Lead singer Marisa Dabice explains, “When you think about the relationships between beast and man, it really shows the type of person you are… Do you want to care for them and protect them? Or do you see them as fodder and something to be slaughtered?” Dabice’s use of nudity symbolizes solitude and self-discovery, as she has said, “At the end of the day, it’s just you and your body.”

I Got Heaven is a visceral, evocative punk/alt-rock record that tackles societal and personal themes with intensity. It explores the demonization of women and queer people, the struggle for self-acceptance, and the power found in solitude. These ideas are presented with raw emotion, making them both deeply urgent and relatable. Mannequin Pussy’s identities inevitably place their work within a political context. Dabice critiques the oppressive influence of Christianity in America, particularly the weaponization of shame: “If someone can make you ashamed of who you are, Dabice has said in an interview, then ultimately, they’ve won. 

The album becomes a sonic resistance against societal norms while maintaining an unrelenting punk ethos. The title track exemplifies the album’s duality, blending rage-filled verses with transcendent choruses. Dabice’s dark, critical humor adds accessibility to even the heaviest themes, giving the record a sharp, self-aware edge. Reflecting on humor, Dabice has said it became part of the creative process, balancing the weight of deeper discussions about humanity's violent relationship with nature and itself.

I Got Heaven is both a call to self-reflection and a fearless critique of societal pressures. Dabice encapsulates the band’s ethos perfectly: “We’re a paradox—absolutely righteous and utterly brazen.” Through intellect, irreverence, and relentless punk energy, Mannequin Pussy delivers an album that’s as thought-provoking as it is visceral.

PHOSPHORESCENT, REVELATOR

I have been a big fan of Matthew Houk, aka Phosphorescent, for many years. He's a fantastic songwriter, singer, and musician and has this uncanny way of digging deep into the human condition, pulling up truths most of us try to keep buried. A highlight for me was his 2013 album, Muchacho. With Revelator, his eighth studio album and first in six years, Houk turns inwards to explore the “gravity of navigating home, partnership, and family, contemplating the dark sides bubbling beneath one's seemingly idyllic life." 

 

Houk's albums are always contemplative and heavy, but the instrumentation on Revelator creates a more dreamlike state than on past albums. It has a calming effect that is welcomed while pondering Houk's sharp introspection and the heavy truths he unearths. By the time the closing track quietly admits, "To get it right is hard to do," Houck has already shown how beautifully he’s managed to do just that. This may be my favorite Phosphorescent album to date.