"The kid drops his bucket and spade/And climbs into the sun," he murmurs before the track’s steady bassline suddenly glitches, as if the needle of a turntable has hit a bad groove, and Cave begins to keen in falsetto. On "Hollywood," the double LP's 14-minute closing track, Cave viscerally summarizes his broken heart.
It’s a record unlike anything else he’s made with the Bad Seeds across the last 35 years.
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But what happens when that hope is suddenly dashed? Nick Cave confronts this reality on Ghosteen, the first album he wrote and recorded in full after the tragic accidental death of his teen son, Arthur. You become a parent with the wish that your kids outlive you. But Lilitri shows why that spotlight-that glow to bask in-is worth fighting for. It’s self-conscious stuff, to be sure, with highlight “Wake Up Next to God” reveling in the G-force of self-torment. “Priority Change” swaggers with shy pride in its chord changes, while Lilitri complains of “being trapped in binary code.” “Dig” gets the balance just about right, with a gloriously smeared chorus in which he’s “still reeling from the mess I made.” Gems like “Impossible Game” find drama in the effort to invest meaning in well-worn metaphors of open roads and unknowable partners. One soul seems devoted to self-pity and the other to splendor, and throughout the album, this internal battle plays out via guitar rock that’s marked by a dappled radiance. “I got two souls fighting for the same spotlight,” Long Island emo hero Jade Lilitri sings on the opening track of his third album as Oso Oso, Basking in the Glow. You can duck in and out of deep listening: Binge Tears of Joy’s 20 short songs as one complete thought or rewind when a particular detail pricks your ears, like the stuttered beat of “Planet” or the vividly abstract bildungsroman of “Memorial.” The album closes with another type of lo-fi recording: a voicemail MIKE’s mother left him before she died. The whole thing is recorded grittily-a garage band’s lo-fi aesthetic applied to hip-hop. The young New York City artist’s delivery is somewhere between talking and rapping, and the album’s production, composed of short loops of various dirgelike sounds, matches that intermediary state. But rarely do they melt into each other in the way they do on MIKE’s Tears of Joy.
Sometimes those two things complement each other nicely sometimes they don’t.
Most rap songs are composed of two main elements: the rapping and the beat. Listen/Buy: Rough Trade | Apple Music | Tidal On these four songs-ranging from gnarled chaos in “The Giza Power Plant” to the psychedelic slow burn of “Inner Paths (to Outer Space)”-Blood Incantation find their own corner in a storied cosmos, where even the most familiar textures can feel thrilling and extreme.
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Yet the real brilliance of this music lies in how free it sounds from what’s come before. Even the side-long closing track, “Awakening From the Dream of Existence to the Multidimensional Nature of Our Reality (Mirror of the Soul),” seems like a nod to the ’70s prog acts whose dark visions helped inspire countless subgenres of heavy music. The warped, intricate death metal of the Colorado quartet’s sophomore album takes influence from legendary bands like Death and Morbid Angel, while its all-analog recording and illustrated sci-fi cover art feel further rooted in the past. In one sense, Blood Incantation are traditionalists. Blood Incantation: Hidden History of the Human Race At times, listening to PROTO can feel like being immersed in a language you’re only just beginning to understand, where obvious phrases seem to stick out of inappropriate contexts and the familiar is not quite so. The thundering “Frontier” builds a battle anthem for the climate emergency against anxious AI wails, while “Godmother” interpolates the fragmented rhythms of Herndon’s friend Jlin, chopping and scattering Spawn’s voice as if it were being fed through fan blades. According to Herndon, who recently earned her PhD in artificial intelligence in music, Spawn learns on “her” own, and Herndon uses the technology to create an album that thrills even beyond its futuristic context. But Spawn isn’t a computer simulation made to appear human, like other recent CGI novelties. PROTO plays like a document of the creation of Spawn, the neural network that experimentalist Holly Herndon trained to sing using her voice alongside the voices of some 300 collaborators.
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