Tame Impala’s Currents: A contemporary classic of epic, obsessive psychedelic pop

This essay is adapted from a presentation I gave at our Classic Album Sundays Sydney listening party celebrating Tame Impala’s Currents earlier this month. I’ve included a playlist, embedded below. There’s a paradox at the heart of the massive appeal of Tame Impala’s third album: it’s without a doubt a pop album, a conscious effort … Continue reading Tame Impala’s Currents: A contemporary classic of epic, obsessive psychedelic pop

Bright Lights by Susanna Hoffs: A collection of warm, intimate, impeccably chosen covers

Bright Lights, the new album by Susanna Hoffs, and her first in nine years, is an unexpected treat for me. Its release — on Hoffs’ own label, Baroque Folk — was only announced a few weeks ago. From what I can gather from interviews and from Hoffs’ social media, she experienced some frustration in getting … Continue reading Bright Lights by Susanna Hoffs: A collection of warm, intimate, impeccably chosen covers

Gillian Welch’s Time (The Revelator) at 20: A timeless masterpiece of apocalyptic country

Gillian Welch’s third album, Time (The Revelator), was released 20 years ago this week. That’s jarring on a number of levels. First of all, it never really left my rotation. I still think of it as new music. There’s this weird compression of time in the internet era. In 2001, music from 1981 sounded a … Continue reading Gillian Welch’s Time (The Revelator) at 20: A timeless masterpiece of apocalyptic country