Music

JOHN MAYER

Sob Rock

Columbia Records

His vocals are so sweet you don’t even need a raspberry scone at the coffee shop where his music is playing over the speakers. John Mayer is back with his eighth studio album, romancing us with his easy, breezy tracks once again. The truth is, when you put him on it’s a whole mood. And this latest collection of sexy, bluesy treats for the eardrums passes the vibe check. To some, it might just be lounge chair rock, but Mayer manages to titillate all the senses with “Shot in the Dark” and “Why You No Love Me." “Last Train Home” is an ode to 80's romantic comedies with electric guitar and cheesy lyrics: “I’m not a fallen angel, I just fell behind/ I'm out of luck and I'm out of time/ If you don't wanna love me, let me go/ I'm runnin' for the last train.” “Shouldn’t Matter But It Does” is an instant, soothing classic. Mayer performed it gorgeously on The Tonight Show with Jimmy Fallon, guitar in hand under a periwinkle and dreamsicle background. If albums were the weather, this one would be sunset. - Marisa Patwa

BILLIE EILISH

Happier Than Ever

Darkroom / Interscope Records

Breakout “bad girl" Billie Eilish is back with her second studio album. This beauty is just as eclectic as her first which captivated the world and garnered her almost 90 million followers. The title track is a grungy, soothing ride. It also has an inspiring music video. Eilish’s house gets flooded and she claws her way out through the dark water. As she floats to the top, she belts out, “I could talk about every time that you showed up on time/ But I'd have an empty line, 'cause you never did/ Never paid any mind to my mother or friends, so I/ Shut 'em all out for you 'cause I was a kid.” Other knockouts include “Getting Older,” “Everybody Dies,” and “Billie Bossa Nova,” a surprisingly seductive song showcasing the best of her breathy vocals. The whole album is passionate and vulnerable and full of self-reflection. Co-written by her brother - and tried and true collaborator - Finneas O'Connell, Happier Than Ever was developed in quarantine. I'm happy it’s finally seeing daylight. - Marisa Patwa

TONES AND I

Welcome to the Madhouse

Bad Batch Records

Tones and I’s single “Dance Monkey” went to number one in over 30 countries in 2019. This summer, we finally got the treat of her debut album. The addictive electric beats and sick singing interlaced in her breakout song are back. Throughout the album are dance diggities and beasty ballads. The Australian rookie is a jack of all trades when it comes to her singing styles. The tracks are mostly self-produced with no collabs just yet. It always helps to add some extra sauce as a newbie but truthfully, she doesn’t need any more on her menu. “I Won’t Sleep” takes you on a wild ride, from the spooky fun music video to her chilling vocals and tongue-twisty lyrics: “You know you're never too old for the kingdom, 'cause the kingdom's in your vein/ I'm not a queen, but you know that I'm the kingpin/ If you're a freak, then come and play.” “Fly Away'' is absolutely breathtaking with a powerhouse chorus: "'Cause I had a dream that someday/ I would just fly, fly away/ And I always knew I couldn't stay/ So I had a dream that I'd just fly away, away, oh.” Simple, but beautiful. - Marisa Patwa

TIMES OF GRACE

Songs of Loss & Separation

Wicked Good Records

If you’re going to wait a decade between your first and second albums, then the follow-up better be good! Fortunately, the sophomore effort from Times of Grace is everything that (some) fans hoped for and more. Times of Grace is the side project of guitarist Adam Dutkiewicz and vocalist Jesse Leach (both are founding members of Massachusetts-based Killswitch Engage). When KSE isn’t delivering their signature “metalcore” sound and touring, Dutkiewicz and Leach explore deeper, more melodic, ethereal material that they cannot play otherwise. Many KSE fans wouldn’t accept such a departure from the signature KSE sound to which they’ve become accustomed. As a KSE fan, however, I was thrilled to hear the pair do something different. The songs are slower, with a focus on creating a musical moment and building to something powerful, emotional and meaningful. There are also positive themes – redemption for the hopeless and finding purpose and identity in this life. Strongest tracks: “To Carry the Weight,” “Cold” and “Bleed Me.” - Matt Alschbach

ME REX

Megabear

Self-Released

Normally, an experimental album is something I can appreciate for its artistic ambitions, even when I don’t fully like the end result. Megabear, the debut album by London band ME REX, is certainly ambitious - 52 short songs intended to be played on shuffle. Each song is in the same key and tempo and features similar instrumentation, melodies, and lyrics throughout. Cool idea, right? No. The resulting album is a 30 minute bore. All of these short songs sound pretty much exactly the same, and they aren’t even exciting in the slightest. Because I was respectfully listening to the album on shuffle, I couldn’t tell when the album would end, and I desperately wanted it to end. This is the most pretentious posh crap I’ve heard come from London, of which there is a lot. - Russ Finn

ISAIAH RASHAD

The House is Burning Down

Top Dawg Entertainment Warner Records

Hailing from Chattanooga and signed to the label known for launching Kendrick Lamar and SZA, Isaiah Rashad’s third album is subdued and underwhelming. Rashad is an incredible rapper whose vision was executed wonderfully on 2016's The Sun’s Tirade, and the raps on The House is Burning Down are still relatively top-notch. The problem stems from how boring the album can be. While it features some incredible singles like “Lay Wit Ya,” the remaining tracks do little to differentiate themselves from that song. Plus, the beats on this album sound really repetitive, which makes very few songs stand out. The House is Burning Down is certainly not bad, but Rashad has the talent to make something great. - Russ Finn

GRATIS

Gratis

Rebore Records

The debut record from Evansville’s very own Gratis is a chaotic display of rock and roll. From beginning to end, the band is all over the place with intense freak-out fits that incorporate quick time signature changes, math-rock riffs, free jazz jams, harsh noise, and sweet moments of ambient tranquility. Full of improvisation and cut from various live demos and unreleased material, the 10 songs on Gratis were compiled from music recorded from 2005 to 2009. I’m not sure what kept Gratis from releasing this material for so long (12 years after the band's dissolution), but I’m certainly glad they did. Gratis is an incredible punk record and a wonderful document of the pre-PG Café scene. It’s one of the coolest Evansville albums I’ve ever heard. - Russ Finn

JAPANESE BREAKFAST

Jubilee

Dead Oceans

The brainchild of Michelle Zauner, Japanese Breakfast continues to churn out wonderfully exotic and unexpected chaos with this third studio effort. Jubilee stays true to Zauner’s fondness of experimental pop but makes it a point to find a keen balance between her lo-fi roots and commercialism. The first half of the record can point to similarities with Carly Rae Jepsen’s catalog, oozing with lush orchestrations featuring trumpets (“Paprika”), soaring vocals (“Be Sweet”), and new wave meets nu-disco (“Slide Tackle”). But the album also dives into Lisa Germano feelings of folk-rock and a polish of cello and violin (“Kokomo, IN”). Eventually, Zauner changes the tune by electing Tears for Fears and Phil Collins’ drum patterns and production effects to take charge to give the record a minimal pop journey (“Posing in Bondage” and “Sit”), before steering the latter half towards ballads that remind you of Keane in their heyday. Here Zauner showcases her incredibly strong low vocal capabilities and pays homage to the music that put Japanese Breakfast on the map. - Freddie Bourne

Blues with Bragin

MICK KOLASSA

Wasted Youth

Endless Blues Records

The prolific Mick Kolassa returns with Wasted Youth. Opener “Throwing Away These Blues” is a sock hop-inspired jam featuring Marc Franklin’s trumpet and Kirk Smothers’ saxophone. The title track offers stellar harmonica playing from special guest Eric Hughes as Kolassa waxes nostalgic. Bill Rufino’s bass shines at the beginning of “It Hurts to Let You Go,” a jazz-influenced ballad tailor-made for pouring a drink. The horns return to a prominent role on “I’m Missing You” as Rufino’s bass offers a funky complement.

“Easy Doesn’t Live Here” finds Kolassa singing about persevering through difficulties. Rick Steff’s organ fits well with the horn section on “I Can’t Get Enough” as Kolassa sings about loving a person’s quirks. “Feeling Sorry for Myself” continues Steff’s piano prowess as Kolassa croons about needing to wallow in self-pity. Kolassa discusses needing to reconnect with someone in the aptly named “Touching Bass.” Rufino’s psychedelic bass solo in the middle fits well. Special guest Brandon Santini lends superb harmonica playing to “My Mind Doesn’t Wander.” “Pieces of My Past” features solid drumming from Doug McMinn. The album closes with “Edge of a Razor” featuring Albert Castiglia on slide guitar. Blues fans are in for a treat. For more info, visit mimsmick.com. - Paul Bragin