SOUND BITES

  Over the course of their initial run in the '90s, Archers of Loaf never got the breakthrough they deserved; sure, they would eventually gain distribution by a major label (as so many fringe acts of the era did) and get to open for a handful of high profile acts, but the four albums they released from 1993 to 1998 just couldn't expand the band's reach much further than the critics' hearts and college campuses. It wasn't for lack of tunes, that's for sure; Web in Front , the very first song on their very first album, is packed with the crunchy guitars, scrappy production and slacker charm that propelled the Pavements of the world to stardom. If I have to guess, I'd say they were victims of circumstance, not weird enough to stand out and not conventional enough to fit in. Whatever the case, after giving it all that they could, health issues and creative fatigue contributed to a mutual, amicable split shortly after the release of White Trash Heroes in 1998. F

  As the story goes, Red Hot Chili Peppers' reunion with twice-estranged guitarist John Frusciante was so inspiring that the resultant recording sessions yielded almost fifty songs, with the band hoping to drop a forty-song box set on their fans in lieu of a regular album. Ever in need of an editor, the band was mercifully told not to do that by their label; after some back-and-forth, a compromise was reached where the band would release two overblown albums spaced six months apart and give a proper home for 34 of the songs from those sessions (while saving two for bonus tracks and the other dozen or so for an as yet unknown fate). The first half of this behemoth saw light of day in April as Unlimited Love ; looking back on my notes, the ever-present problem with the Peppers having too many ideas and not enough editorial willpower was my main gripe with that record, so what am I supposed to do with another, equally hefty batch of songs from the same sessions? It's very difficul

  After a slow ascent that saw them self-release their first three albums over the course of six years, Surf Curse found fame in the way that so many young and hungry bands do in this modern age; Freaks , written in 2011 and originally released on their debut Buds in 2013, found itself a sudden smash after soundtracking memes on TikTok in 2020, eventually garnering over 200 million streams and earning the group a major label contract.  The first album following their breakthrough, Magic Hour finds plenty of changes in store for fans; now expanded to a four-piece, this album immediately sets itself apart from previous releases based on the fuller sound in the songs alone. Couple that with a step away from the lo-fi aesthetic that played a part in earlier releases and this is obviously going to be a different experience than people may have hyped themselves up for. That said, the crunchy, energized Arrow and the lush, dreamy Cathy combine for a very strong start even as they fly in the

  After several album cycles of alternating between dipping into the well of nostalgia and ill-fated attempts at fitting in with the times, somehow Bush have seemed to settle on the kind of hard edged, chugging rock that's designed to slot in alongside the likes of Shinedown and Three Days Grace on whatever "modern rock radio" is these days. It's kind of a weird place for the band that rode the post-grunge wave to superstardom in the mid-90's, but I will admit it's more favourable than the pop experiments that smacked of desperation on albums like The Sea of Memories and Black and White Rainbows . On ninth album The Art of Survival , there's at least a little less bludgeoning and a little more dynamics on display; the sludgy elements of opener Heavy is the Ocean offer a different flavour than Bush devotees are likely used to, while the industrial touches on May Your Love Be Pure remind us that an environment existed in the late 90's where rock bands

  Surely, there has to come a time when King Gizzard and the Lizard Wizard's torrid pace of releasing new music slows. That time, however, hasn't happened yet; it took a pandemic to slow them down ever so slightly but, now that they're back at full steam, their pace has returned to peak. Ice, Death, Planets, Lungs, Mushrooms and Lava is the third of five 2022 albums from the prolific Aussie psych-rockers, their 21st overall, and sees the group centering their compositions around the seven modes of major scale, proving once again that no one is quite like them in terms of exploring within their craft. The songs on this album are few, but not lacking in ambition; the seven tracks take up 64 minutes, with only one song falling below seven minutes and two that stretch past ten. Overall, the vibe is mostly familiar to fans, as KGLW fit their explorations into psychedelic sprawls that feature their unmistakable interplay and long stretches of instrumental acrobatics. Mycelium se

  When you think about the career trajectory of Pixies, it really is kind of wild; their original run of four albums and an EP from 1987 to 1991 famously inspired the likes of Kurt Cobain and ultimately kickstarted a generational movement in rock history; of course, they flew under the radar until years after they'd packed it up, at which point Pixies were finally recognized for their stellar contributions (especially undisputed classics Surfer Rosa and Doolittle ), eventually prompting a tentative return to performing. Still, it would take over twenty years for an album of new material to appear in the form of the three EPs stapled together as album Indie Cindy in 2014. That record was heavily maligned by fans of departed bassist Kim Deal and critics who were aghast at the mere chance of Pixies sullying their legacy with material that didn't match the gonzo intensity of their prime period. A funny thing happened along the way, though; Pixies once again settled into their pla

  In the time since the release of their 2010 critical breakthrough The Monitor , Titus Andronicus have done a lot of exploring while remaining true to their well-read rock tendencies. 2012's Local Business was intentionally more straightforward than the sprawling Civil War concept record that preceded it, while 2015's The Most Lamentable Tragedy supersized their approach across two albums and over 90 minutes, only to compact themselves again on 2018's A Productive Cough and again on An Obelisk , which followed a quick year later. With The Will to Live , there seems to be a simpler approach, a focus on paying homage to classic rock heroes that serves the majority of their seventh album well; the album starts off with the instrumental My Mother is Going to Kill Me , which sets the stage with squealing solos and a high energy performance that carries over to (I'm) Screwed , which carries a classic rock swagger akin to T. Rex and The Rolling Stones in a dust-up. True to

  Yeah Yeah Yeahs' first act was one that saw them undertake a journey of sonic exploration; starting with the scrappy art rock fury of their early EPs and debut album Fever to Tell , they introduced more melody into their songs before transitioning into the dance rock style that's prominent on 2009's It's Blitz and 2013's Mosquito . Now, with almost a decade of radio silence before their eventual re-emergence, it was anyone's guess what a Yeah Yeah Yeahs record in 2022 would sound like. As it turns out, there are lessons taken from each of their previous phases on fifth album Cool it Down , and also a measured maturity. It's also streamlined, with just eight tracks and 32 minutes, making for their shortest record so far. Cool it Down starts out subdued with the Perfume Genius-featuring Spitting Off the Edge of the World , a slow burning ballad that showcases the group's gift for layers. Lovebomb follows, a sprawling, synth-soaked tune that patiently r