Album Review: Weathervanes - Jason Isbell and the 400 Unit

Country is likely the most divisive genre in all of music. While legends like Willie Nelson, Johnny Cash, and Dolly Parton are widely regarded as some of the greatest musicians of all time, many of today’s most popular country artists make headlines for the contrarian and conservative ideologies that constitute their overly simplistic songwriting. While many of the genre’s tropes are predictable and made for the masses, country music’s conventions and aesthetics can also enable artists to engage in incredible storytelling. A historian and adoring fan of the roots of his genre, Jason Isbell’s poetry and hard-hitting lyricism have elevated his music above the noise since he joined the scene. He has described each of his albums as a snapshot in time that captures his current mindset, and the maturity of both his sound and character have been evident with every release. Weathervanes is no different — on Isbell’s newest record, he offers some of the most intricately orchestrated and carefully crafted tracks of his entire career. His masterful storytelling, instrumental choices, and thematic cohesiveness makes this one of the most exciting albums of the year so far.

Each of this album’s lead singles are tasteful examples of all of the flavors it has to offer. “Death Wish” gnashes and grapples with the devastating reality of navigating a relationship with an addict. “Middle of the Morning”, born from the pandemic, explores the existential dread of cabin fever that lockdowns forced on us all. “Save the World” directly confronts the tragedy of school shootings, which unfortunately has to directly affect the way Isbell parents his daughter. “Cast Iron Skillet” creatively and expertly uses common Southern idioms to highlight the backward, brainwashing ideologies that Isbell was taught justify the injustices he saw in the world. Highlights from the project in and of themselves, Weathervanes’ lead singles are complemented by the rest of the album’s tracklisting.

As previously stated, Weathervanes is made up of some of Isbell’s biggest songwriting accomplishments to date. “King of Oklahoma” is a heartbroken and sprawling violin-backed ballad describing the shattered remnants of a failed relationship. “If You Insist” is a tragic track that features the most show-stopping lyrics from the entire album: “My momma spent every day alone / In a house of noise and names / She got so tired putting out fires / She just laid down in the flames.” That line is so effective and chilling that it still gives me goosebumps every time. “White Beretta” narratively recalls Isbell’s experience with navigating an unplanned pregnancy with a previous partner — one of the project’s most understated yet poignant and important political statements. “Miles” is an epic, 7-minute long journey that morphs and evolves over its long runtime, serving as a perfect closer for this album. While not every track here hits its mark, a vast majority are very strong and others are some of the best in Isbell’s discography.

The unclear direction of tracks like “When We Were Close” and “This Ain’t It" left me wanting more from ideals that didn’t feel fully fleshed out, but these shortcomings were more than made up for by the rest of this fantastic project. Jason Isbell’s perspective is a unique and important one in country music — his Americana roots and poetic lyricism are better than any in his field, and Weathervanes may just be his best album yet.

Favorite tracks: “Death Wish”, “King of Oklahoma”, “Strawberry Woman”, “Save the World”, “If You Insist”, “Cast Iron Skillet”, “Volunteer”, “Vestavia Hills” “White Beretta”, “Miles”

SCORE: 8/10

Mid-Game Review: Zelda: Tears of the Kingdom

Nintendo’s release of Zelda: Breath of the Wild revolutionized open world, sandbox-structured single player video games. Its immersive story, intuitive map design, and endless discovery captivated fans of the series new and old. Six years later, the release of this beloved game’s sequel, Zelda: Tears of the Kingdom, has overdelivered on the risky premise of recycling the same map of the mythical Hyrule. New additions, though, keep things fresh and exciting, such as more customizable weaponry and equipment, compelling quests, and an entire underground map known as The Depths. Somehow, Tears of the Kingdom has surpassed its predecessor — one of the most critically-acclaimed video games of all time.

I haven’t finished Tears of the Kingdom yet, and I’m in no rush to do so. Its expansive map is overwhelming at first, but progress comes at a perfectly satisfying rate, even taking multiple days off in-between play sessions. I’m keeping in mind that you can only play once-in-a-lifetime games like this for the first time once, so I’m choosing to take in the surroundings, surprises, and storylines with no rush. I just finished one of the game’s first main quests, which cleverly points you in four different directions on the map, letting you meet and solve problems for the residents of four major locations in the area. After doing so in each section, you unlock a companion spirit that accompanies and assists you as you progress further, rewarding you for solving the game’s many challenging puzzles and difficult boss fights.

While there is a clear path ahead of me (and Link) that I know will progress the main story’s plot forward, I’m going to continue to choose enjoying unlocking the entire map, exploring and harvesting as I go along. Open-world immersion is quickly becoming my favorite genre of games, and Tears of the Kingdom is no exception. If it sticks the landing, which I’m sure it will, it may become one of my favorite games of all time. Once I defeat Ganondorf and hopefully rescue Zelda, I’ll have you let you know what I think. If you’re a fan of video games, this is a must-play AAA title.

Album Review: That! Feels Good! - Jessie Ware

Before the release of her 2020 album What’s Your Pleasure?, English singer-songwriter and international sensation Jessie Ware almost stepped away from making music. Citing a lack of momentum and stalling of her creative process, Ware nearly retreated to the comfortable but modest confines of family life, leaving behind a fandom that saw the potential in her that she did not yet see in herself. After the release of What’s Your Pleasure?, however, it became clear that Ware’s passion for disco-inspired dance anthems and soulful ballads resonated with an even wider array of listeners across the globe, as this project quickly became her most commercially successful and critically acclaimed. Her newest album That! Feels Good! has released three years later, and this highly-anticipated project is a very natural continuation of the sonic landscape that Ware has been developing for some time. Cohesive, uplifting, innovative, camp, and just downright groovy, That! Feels Good! is not only one of the best dance records in recent memory, but one of the best records in recent memory altogether.

Always accompanied by her supportive team, Ware made sure to include her loved ones and collaborator in the opening title track’s self-referential and communal introduction. Backed by a driving bassline and sensual lyricism, Ware sets the stage well for what’s to come in the rest of the tracklisting. “If you’re going to do it, do it well (That’s the only way I do it)” is repeated throughout, and Ware proceeds to walk the walk of this philosophy on following tracks. “Free Yourself” was the project’s lead single and carries its contagious energy onto the album rollout. Its high tempo, encouraging lyricism, and spotless production make this a standout on an already impressive project. “Pearls” was another that teased this album with smooth production, playful lyrics, and killer belted vocals to round things out. Ware worked with Dua Lipa’s production team on this track, which is evident upon hearing its glistening and dynamic instrumentation.

“Hello Love” is a breather on the tracklisting, utilizing Jazz-inspired production and instrumentation. Ware is no stranger to a love song, and this fits very well into her discography as it channels pastel summer skies and electric butterflies. “Begin Again” is next and may be my favorite Jessie Ware song of all time after repeat listens. Discussing self-acceptance, rebirth, purpose, and introspection, this track touches on some of my favorite themes. The track continually builds and develops, eventually crescendoing into a climax larger than life itself - bigger in scope than anything Ware has attempting before and gracefully sticking the landing. “Beautiful People” is another electric track that encourages us to seek and appreciate the beauty of those around us, particularly in an often ugly world. There is an escapist quality track that serves a daydream or reminiscing of a time of partying long ago.

“Freak Me Now” is an unapologetic club banger that doesn’t rely on traditional songwriting structures, instead pulling directly from French house influences and practically begging to be played in clubs around the world. “Shake The Bottle” is a melodramatic and performative camp track easily likened to Ware’s “Ooh La La” that uses a narrative full of innuendo. While the following “Lightning” is a slow jam and change of pace that’s done generally well, it lacks the indescribable energy found in the rest of the tracklisting. Finally, the album’s closer “These Lips” is just as much an invitation as it is a promise — just because the project, the party, or the era is over doesn’t mean that the fun has to stop or that there isn’t another around the corner. Ware’s refrain of “These two lips can do so much more” is a sensual confirmation that her songwriting days aren’t coming to an end, but that this may just be the beginning of her resurgence and development as a world class artist.

Jessie Ware’s two most recent projects, What’s Your Pleasure? and That! Feels Good!, are a reminder that dreams should never be let go of. Ware almost gave up her calling, but instead chose to continue pursuing her art and blessed her fanbase with two incredible projects and a lifetime of music yet to come. Glamorous talent on full display, That! Feels Good! can brighten up the darkest days. This is one of my favorite projects so far this year, and I can’t wait to watch her reach even newer heights in the future.

Favorite tracks: “That! Feels Good!”, “Free Yourself”, “Pearls”, “Hello Love”, “Begin Again”, “Beautiful People”, “Freak Me Now”, “These Lips”

SCORE: 9/10

Album Review: the record - boygenius

One of the most fascinating phenomena in all of music is what has been colloquially coined the “supergroup.” Many of these ultimate collaborations work well on paper, consisting of likeminded and sonically-similar artists coming together to create projects larger than the sum of their parts. In some instances, however, the culmination of superstars can lead to a “too many cooks in the kitchen” effect that actually detracts from the individual elements that brought each artist to stardom in the first place. boygenius, made up of heartfelt singer-songwriter Lucy Dacus, moody and confessional singer Julien Baker, and indie sweetheart and heartbreaker Phoebe Bridgers, is the latest attempt at an alternative collaboration that is natural both because of the members’ friendship and their similar sounds & subject matters. the record is the long-awaited debut album from the group following their critically-acclaimed 2018 self-titled EP.

The new project opens with a harrowing and contemplative a cappella track “Without You Without Them” that demonstrates the trio’s natural harmony with one another. On this track, the supergroup ponders the difficulties of life if they did not have one another — an uplifting track to kick things off. The following three tracks, “$20”, “Emily I’m Sorry”, and “True Blue”, were released as a pack of singles months before the album’s release and continue to serve as highlights now that the record has arrived in full. Each artist gets to shine on this three-track run; Baker’s punky lead vocals define the electric “$20”, Bridgers’ plucky acoustics and ethereal vocal effects pair incredibly well with the vulnerable subject matter of “Emily I’m Sorry”, and Dacus’s incredibly-written exploration of unwavering and unconditional love defines “True Blue”.

“Cool About It” depicts a deteriorating relationship over a country-inspired acoustic backing guitar reminiscent of Plain White T’s “Hey There Delilah”, but lacks the staying power of some of the other tracks here. “Not Strong Enough” served as the fourth and final single leading up to the project’s release, and remains my favorite on the album, with thought-provoking and devastatingly relatable lyricism that culminates in the entire group harmonizing effortlessly. “Revolution 0” has a difficult act to follow, but unfortunately it doesn’t seize that opportunity as well as I would like, coming off more as a Punisher B-side leftover that left me scratching my head.

“Leonard Cohen” is one of the highest-potential tracks on the album from the title alone, but with a runtime under two minutes, this sounds more like the idea of a great hit than the execution of one. I enjoy what this song could’ve been had it not been so underbaked. Luckily, the following “Satanist” makes up for its shortcomings, serving as another major highlight and standout. Evocative lyricism regarding satanism, anarchism, and nihilism paired with a sick electric guitar riff and memorable lyrical contributions from each member, define and demonstrate what this group does best — rock the fuck out together. In the opposite vein, however, “We’re In Love” is the most heartfelt song on the album, with Dacus baring her soul with lyrics like “You could absolutely break my heart / That’s how I know that we’re in love.”

“Anti-Curse” is another mini-highlight, with Baker recounting and reflecting on a very real near-death experience she had at a public beach, and as impressive as this three-track run is, it feels more like a compilation than a proper album because of its lack of thematic cohesion and progression. We close with “Letter To An Old Poet”, a piano-backed ballad that serves as a rewarding final track that contains reference to one of the group’s most popular songs “Me & My Dog” that will likely bring many to tears.

the record is boygenius's attempt at achieving supergroup stardom, and it exceeds expectations in many ways. The group’s chemistry is undeniable, but each individual member’s contributions are both unique and essential to form a sonic aesthetic that hasn’t been achieved before. While some of the songs feel underbaked and don’t stick the landing for me here, the standout highlights are some of the best tracks released so far in 2023, and leave me hoping for a bright future for these three immensely-talented artists.

Favorite tracks: “Without You Without Them”, “$20”, “Emily I’m Sorry”, “True Blue”, “Not Strong Enough”, “Satanist”, “Anti-Curse”, “Letter To An Old Poet”

SCORE: 7/10

Album Review: Live at Bush Hall - Black Country, New Road

Days before the release of what has since become their widely-acclaimed chamber-pop classic Ants From Up There, English rock group Black Country, New Road faced unprecedented circumstances. Citing mental health challenges, lead singer and eclectic storyteller Isaac Wood announced that he would be stepping away from the group’s endeavors indefinitely. Not only did this present the obvious long-term obstacle of having to redefine the group’s sound and personality over time, but their upcoming tour was now in question since all of the band’s material from their first two albums was defined by Isaac’s contributions. This left many Black Country, New Road fans experiencing the bittersweetness that the group so often evokes in its narratives, but this time about this band itself. Where would they go from here? Could their future music ever live up to the impossibly high standard set by For the first time and Ants From Up There? What happens now?

Fortunately for Black Country, New Road fans, it’s apparent that putting this group of extraordinarily-talented musicians in the same room together leads to nothing short of sonic euphoria. Instead of replacing Isaac with another lead single and touring the group’s album tracks, they took a chance by assembling a brand new setlist of songs that highlighted each member’s abilities in a refreshing light, even allowing instrumentalists like May Kershaw, Tyler Hyde, and Lewis Evans to lead the charge and attempt to fill the large (basketball) shoes left behind by Isaac on the mic. Their most recent project, not quite a third full-length LP but certainly more than a just collection of tracks, Live at Bush Hall is a special recording of the setlist the group arranged after Isaac’s departure recorded on both audio and video in one of London’s most historic venues.

From the first track “Up Song”, it’s apparent that Isaac’s departure is very much still on the minds and hearts of each of the group’s members. Despite this, this excellent opener is a triumphant victory lap and self-congratulatory reminder that these are all friends making music, with an ear worm of a chorus that states: “What at what we did together, BC, NR - friends forever!” Track two, “The Boy”, explores a heart-wrenching, theatrical narrative of a Robin losing its ability to fly and attempt to restore its broken wing. While somewhat shrouded in layered vocals and a unique narrative structure, this song’s symbolism quickly becomes apparent, and May’s vocal contributions demonstrate that a varied style could provide refreshing and useful for the group moving forward.

“I Won’t Always Love You” is one of the most structurally-captivating pieces the group has released up until this point, with the narrator struggling to lie to herself about a relationship that has slipped past the point of no return. As the song progresses and she finally admits to herself that the love she once felt is no longer, she is able to speak more clearly and directly, with an ever-swelling instrumentation that eventually blooms into the full Black Country organized chaos that fans have grown to adore.

“Across the Pond Friend” is up next, and so is Lewis Evans - whose semi-flat vocal delivery would prove jarring if not for how well it is accompanied when juxtaposed to the upbeat instrumentation of this track. The story of living more adventurously than you’re accustomed to and doing something as simple as visiting a distant friend is both fulfilling and crushing, with crushing lyrics like “On our last night, we watched a film and had a cry / How could I be ready to say goodbye? / And just like that, you’re in my mind, you’re back into my arms again / My across-the-pond friend.”

Speaking of crushing, the following “Laughing Song” is anything but a knee slapper, as it explores Tyler’s experience in losing someone incredibly close to her whether to death or to circumstance. I may be presuming, but I hear the subject being discussed here as Isaac, with lines like “Laughing at our own songs again / How we laughed, you made me laugh / Well, what does that say? / What does that say? / When I have accepted that no-one else will make me laugh like that - ever again?” seemingly confirming the depth of impact that Isaac’s departure had on this group of friends. This isn’t to fault Isaac for taking the actions needed to preserve his mental health, but instead to explore the often bittersweet nature of life that Black Country, New Road so frequently captures the essence of.

“The Wrong Trousers” is an uplifting and sometimes humorous track, but even the Weyes Blood reference could’ve elevate it above forgettable to me, especially when surrounded by such powerhouses. None exemplify this more than the following “Turbines/Pigs”, which I hope is adapted and featured on a future full-length studio project. One of my favorite Black Country, New Road songs to date, this piano-backed epic’s chorus is haunting, with May Kershaw repeating “Don’t waste your pearls on me … I’m only a pig” and eventually culminating in the brutal “Without a broom or bubble, you learnt to fly all by yourself / You could see through the mess / You chose to fly above us.” Chills.

“Dancers” is another highlight, with the central core metaphor of dancers standing still on a stage as shells of who they once were. When paired with the revelation that Tyler is struggling with self-hatred throughout the track, this song proves to be yet another tearjerker. Finally, “Up Song (Reprise)” puts a thematic bow on this project by resurfacing the opening track’s lyrics and a final, existential look inward with the lines “Look at what we did together / Don’t know how you did it / Have you come out half the woman you were before / Or twice the person you ever dreamed you could be?” Hopefully the answer to that question is quite clear at this point — Black Country, New Road as a whole has seemingly used very unfortunate circumstances to evolve, adapt, and continue to expand their sonic capabilities even further than the sky-high standard they set for themselves. But the question even being asked reveals that their identity as a group has been shaken, and they are unsure if this new formula will yield the same brilliance that their debut and sophomore albums captured.

While not a conventional release, I found a live album the perfect next step forward for Black Country, New Road. This project highlights the many skills of their members, offering an array of new sounds and ideas to fans, while capturing the same aesthetic and tonal quality that we’ve grown to love. This project will not be a part of my year-end list because it was released under such particular circumstances and isn’t being framed a formal third studio album from the group, but that doesn’t mean it won’t be one of my most-played favorites this year, even with an asterisk next to its name. Black Country, New Road has already established a special place in my heart with their first two albums, and Live at Bush Hall is yet another moment that leaves my jaw on the floor and leaves me excited for what’s in store for this band in the coming years.

Favorite tracks: “Up Song”, “The Boy”, “I Won’t Always Love You”, “Across the Pond Friend”, “Laughing Song”, “Turbines/Pigs”, “Dancers”

SCORE: 8/10*