KINGS OF LEON, CAN WE PLEASE HAVE FUN

I remember so clearly the thrill of listening to Kings Of Leon's debut album, Youth and Young Manhood, way back in 2003. It was a hotrod of an album with songs that just exploded with energy, rawness, and swagger. Then the band started 'maturing.' I was with it through Because of the Times. Then the band lost me for a few albums and years. With 2013's Mechanical Bull, the band returned somewhat to their earlier form, but I had to finally acknowledge that this was who the band was now. Fast forward eleven years and three albums, and the band seems to have found a nice balance between what was and what is with their latest album Can We Please Have Fun. I've been enjoying it a lot and glad to see that Kings Of Leon still have some edge.

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.

SIERRA FERRELL, TRAIL OF FLOWERS

Sierra Ferrell is a rising star in roots music, known for her distinctive blend of old-time, bluegrass, honky-tonk, and folk. Born in West Virginia, she gained widespread recognition with her debut album Long Time Coming, earning the Emerging Act of the Year at the Americana Honors & Awards. Since then, Ferrell has collaborated with artists like Margo Price, Zach Bryan, Diplo, and the Black Keys, captivating audiences across North America and Europe.

Her sophomore album Trail of Flowers, produced by Eddie Spear and Gary Paczosa, deepens her sound while preserving her whimsical, imaginative storytelling. The album spans a range of styles, from bluegrass to haunting ballads, and reflects Ferrell's personal experiences and reflections on modern life, including themes like the struggle for the "American dream" in the face of capitalism (American Dreaming) and the importance of self-sufficiency (Fox Hunt).

Ferrell’s unique voice and poetic lyrics shine on tracks like Dollar Bill Bar and the playful I Could Drive You Crazy, while Chittlin’ Cookin’ Time in Cheatham County honors the history of blues and old-time music. With a love for flowers that inspired the album title, Trail of Flowers is a rich, heartfelt collection that invites listeners to find comfort and healing through her music.

1999 WRITE THE FUTURE, hella (˃̣̣̥╭╮˂̣̣̥) ✧ ♡ ‧o· ̊

One of the more interesting albums for me this year has been 88rising's 1999 WRITE THE FUTURE, hella (˃̣̣̥╭╮˂̣̣̥) ✧ ♡ ‧o· ̊. 88rising is a musical collective, management company, and record label founded in 2015 by Sean Miyashiro and Jaeson Ma. Since its origin, it has become a platform for Asian American artists. On 1999 Write The Future, artists from their label along with well known hip-hop and R&B artists like De La Soul and Rick Ross, have come together tor create an expansive, 24 track album that bounces from hip-hop to R&B to jazz, to...listen and find found! It's like discovering a great 24 song playlist.