Band/Artist Profile Classic Album Review

Artist Spotlight: Zulu

I love heavy music. And as someone who is far from a genre purist, I love heavy music that experiments with the “hardcore” label. Music that challenges what hardcore can be is extremely special to me.

I’ve talked about bands that subvert the archetype of “hardcore” before. In November of 2023, I covered Agabas, a band that blends the chaos of metal with jazz.

This week, I’m covering a band that not only fuses genres, but is doing groundbreaking work to elevate the Black community in the hardcore scene.

The Future of Hardcore

Zulu is a black-fronted hardcore punk band from Los Angeles. Formed by multi-instrumentalist Anaiah Lei, the band takes a leaf out of the powerviolence playbook, presenting a raw and aggressive distillation of hardcore punk.

What makes Zulu different from other hardcore acts, however, are the samples of funk, soul, reggae and spoken word woven into their music.

Cover for “Our Day Will Come” by Zulu

For example, the track “For Sista Humphrey” features a heavy guitar-drum duo and guttural vocals before abruptly transitioning into a soft soul melody. In “52 Fatal Strikes,” rage gives way to serenity as a brief classical instrumental jumps in.

While the contrast sounds jarring, it works.

By injecting black-pioneered genres into their music, Zulu imbues their sound with a distinct and unwavering identity. This is especially important when one considers that Zulu’s lyricism is all about elevating Blackness and empowering Black individuals.

You see tension, aggression

Only anger

I see peace


Black joy is divinity

“Our Day is Now” – Zulu

However, as Lei said in an interview with Kerrang! in 2022, the band’s connection to Black culture shouldn’t stand as their only defining feature.

“…when it comes to bringing in a band where all of us are Black, that is an important thing but also people make it a lot bigger than it is,” Lei said. “I guess only because it’s not the norm, and that is what’s the issue. It should be very normal.”

Zulu’s central aim, according to Lei, is to experiment freely within the scene and create a space for others to do the same.

“The one thing I wanted to do with this project was be myself entirely,” Lei said.


Zulu released their first EP, “Our Day Will Come,” in 2019. The following year, they released “My People…Hold On.”

Both EPs feature a melange of rigorous hardcore interspersed with samples from speeches, spoken word, rap, soul music and other historically Black genres.

Zulu’s first full-length album, “A New Tomorrow,” came out in 2023. The album features several singles the band released in 2022 and early 2023.

Cover for “My People…Hold On” by Zulu

The album’s opening track, “Africa,” features a bright classical arrangement before the proceeding track, “For Sista Humphrey,” fades in with a hellish guitar and vocals. A similar pattern continues throughout the album, with hardcore tracks contrasted with peaceful, slow-moving melodies.

Thematically, this poses an interesting narrative. As the band’s lyricism suggests, this contrast illustrates the dual narratives surrounding Blackness: the imposition of an aggressive, violent nature versus the reality of peace, community and creativity.

I’m looking forward to seeing the direction of Zulu’s future projects and seeing them live, since I missed their last live show.

Recommended Tracks

Classic Album Review

A “Convicted” Classic by Cryptic Slaughter

Wave after wave of inundating drum beats and hyper focused riffs shoot through my ears. I can’t stop whipping my head up and down. I wanna thrash and hit bodies in a pit just to feel the pressure of the music like Cryptic Slaughter is screaming about. Music that makes my ears want to melt; music that careens off the edge of highways into the abyss of night; music that creates fissures running through skin and bone – this is the type of sound people look for when we aren’t given enough answers. 

Cryptic Slaughter is one of the earlier thrash and crossover bands to make sounds like this. Starting out in the mid 1980’s, the band jumped onto the scene with a demo, “Life in Grave”, which cemented their early success. The band’s punk sounds combine perfectly with their hardcore attitudes. 

Their first full length release, “Convicted”, was pressed and released by Metal Blade Records in 1986. Cryptic Slaughter thrived on the road and in the studio for a few years before dying as all young bands do with differences of opinions. They resurfaced a few times since dissipating but soon after disappeared back into the grave (Interview from Voices from the Dark Side). 

Cryptic Slaughter, at the time of “Convicted”’s release, had Bill Crooks (Vocals), Les Evans (Guitars), Rob Nicholson (Bass, Vocals (backing)) and Scott Peterson (Drums) as members of the band. The youngest member of the band at the release of the album was about sixteen years old and the oldest weren’t more than a few years older than that. Cryptic Slaughter was just a bunch of kids making waves in the metal scene. 


I wish this album would take me back to the time when it came out. I want to experience how the sounds of heavy drums quaked and rattled the foundations of the venues. I want to feel the rage and pain of everyone in attendance. “Convicted” has a bunch of tracks that make me want to let my fists and legs and body work into the crowd.

Specifically, “M.A.D.”, “Lowlife”, “War to the Knife” and“Reich of Torture” all exhibit the best of berserker inducing noise. They won’t quell the frustrations that so many in attendance like to exhibit at shows. These tracks encourage friendly violence (and that is only a thing in metal/ hardcore). It’s violence you know will be forgiven. Violence and anger at the unjust systems and actions of those holding the reins. 

The most interesting (and ahead of their times) tracks on this album foreshadow the rise of thrash metal.

“Life in the Grave”

This track in particular feels brand new for being released in 1986. If you placed this in the hands of an artist making similar noise today, I would absolutely call this modern metal. 

“Little World”

Quick to anger riffs and sadistic drum beats ring in my ears even after the music is paused. 

“Sudden Death”

Graphic suicidal lyric warning. The opening is dynamite. Gnarly explosive drums issue out earthquakes and aftershocks still coursing through my bones. This track feels so much like early grindcore with punk vocals and lyrics. 

Walking Free from the Prison

“Convicted” stands the test of time. Epic chaos ensues once you hit play. Cryptic Slaughter’s echoes and sharp head pains are a welcoming embrace throughout this piece of music history. I will be checking out Cryptic Slaughter’s later work over the next few weeks to see how their sounds changed throughout their short life. I’m glad I don’t need to ask where the bands making music like this now are at because we just gotta search for them. It’s not too difficult to do a little digging. Also websites like Chosic can help find similar sounding tunes with just a quick search.

Band/Artist Profile Classic Album Review

5 Amazing Goth Bands with BIack Representation

The goth scene has a diversity problem. Most alternative music scenes, if I’m being honest, have a diversity problem.

While the contemporary state of the alternative scene is certainly facilitating some much-needed change, it’s important to recognize that people of color — specifically, black people — have always been part of the scene, and always will.

Here are five awesome goth bands that feature black musicians, proving that despite popular assumption, goth isn’t white.

Scary Black

A beloved artist of mine and one who I’ve spun on-air several times before, Scary Black is orchestrated by the brilliant mind of Albie Mason, a purveyor of “introverted darkwave.”

Based in Louisville, Kentucky, Scary Black redefines the term “southern gothic.”

Cover for “Live at Fascination Street” by Scary Black

With corpse-cold melodies, vampiric lyrics and a cultivated air of foreboding, each track is goosebump-inducing in the best way.

Scary Black’s debut album, “Are You Afraid of the Dark?” features some of my favorite songs, such as “I Will Crawl Inside Your Heart and Die.”

The Ire

If you like music with screamier vocals, The Ire may be for you.

Based in Philadelphia, The Ire draws inspiration from 80’s post-punk and infuses the style with deathrock dramaticism.

Cover for “Bacchic Dance” by The Ire

Their first demo album, “Demo,” came out in 2019. From then on, their command of style only refined itself, leading to their most recent album, “Bacchic Dance,” which came out Feb 2, 2024.

Light Asylum

I remember dancing to “Dark Allies” at the Wicked Witch back in 2023. The energy was electrifying, the air gauzy with fluttering shawls and swaying arms and swooshing leather.

Light Asylum is the Brooklyn-based solo project of Shannon Funchess, founded first as a duo in 2007 until keyboardist Bruno Coviello left in 2012.

Cover for “Light Asylum” by Light Asylum

Light Asylum’s music is powerful and inspired, with Funchess’s vocals fueling the project’s international appeal. With an 80’s-inspired sound, Light Asylum’s influences extend from Depeche Mode to the industrial clang of Nine Inch Nails.

She Wants Revenge

At this point, I’d be hard-pressed to find someone in the alternative scene who hasn’t heard of She Wants Revenge.

Their iconic “Tear You Apart” defined my adolescence.

Based in San Fernando Valley, California, She Wants Revenge presents a stilted and charmingly blunt take on post-punk and darkwave.

Cover for “She Wants Revenge” by She Wants Revenge

Consisting of Justin Warfield and Adam Bravin, the band emerged in 2006 after being scouted by none other than Fred Durst, every twenty-something-year-old teenage girl’s favorite man.

And the rest is history.

Shadow Age

Putting the dark back in darkwave, Shadow Age’s music is cold and diffused through fog.

Based in Richmond, Virginia, Shadow Age released their first demo in 2013. Two years later their first EP, “Silaluk,” hit the airwaves.

The album has a beautifully esoteric sound and a distant, hazy vocal quality that conjures images of blanched, glacial landscapes.

Cover for “Silaluk” by Shadow Age

The band’s 2017 album “The Fall” is comparatively warmer, though still with a lo-fi distortion.

Their most recent release, the single “Ours,” takes the band’s sound in an interesting new direction with stronger electronic and indie influences.

Final Thoughts

People of color have always influenced the alternative music scene, and for much of musical history, their impact has been ignored.

Lending recognition to the numerous artists who continue to operate in the scene is integral to building a more inclusive and representative space.

Classic Album Review

Classic Album Review: “The Stranger” by Billy Joel

ALBUM: “The Stranger” by Billy Joel


RECORD LABEL: Columbia Records

Even though Billy Joel is a world-renowned singer-songwriter and piano player, I only started listening to him recently. I discovered Joel through the movie “Uncut Gems”. The song “The Stranger” was included in the soundtrack. It fit well with the scene and overall was a killer track. I was intrigued and wanted to listen to the whole LP. I was not aware of it then, but it ended up becoming one of my favorite albums.

Classic Album Review

“This Stupid World” by Yo La Tengo

This “review” of Yo La Tengo’s “This Stupid World” is a companion piece to a “review” of MooM’s “Plague Infested Dump of the Future”. I explained some of my reasoning for talking about two completely different albums in that article and you are welcome to check it out if you feel inclined. 

Yo La Tengo is one of my favorite bands of all time. The smooth symphony of sounds creeping up from the speakers to take my head into a comforting cradle leaves a lasting impact in my mind. The joy for music I have while listening to Yo La Tengo isn’t easily explained. (But who can really explain their emotions?)

In the past year of dragging “This Stupid World” around in my head, letting it bounce off the cavities of my brain, helping it incite hunger and different kinds of fear, I have truly enjoyed familiarizing myself with this album. 

This album was the first in a few years that Yo La Tengo (YLT) released with what they call a “live sound”, and it takes us back to the well-loved sounds the band produced in the past (quote from their Bandcamp). “This Stupid World” was released on February 10, 2023 and released under Matador Records. The band includes Ira Kaplan, Georgia Hubley, and James McNew.

Where’s the World’s Stupidity?

Sinatra Drive Breakdown

I don’t dislike a single track on this album. I could spend hours writing and re-writing my thoughts to try and accurately reflect my love and attention for these songs, but I don’t have time for that. As the opening song, “Sinatra Drive Breakdown” is a magnet for your ears. Thwumthwumthwum. The guitar and the bass beats into my ears and I’m enamored immediately by the beauty of fear that time is running out. 


A little more upbeat, “Fallout” is a great followup to “Sinatra Drive Breakdown”. It still sinks back into regret and time’s manipulative interactions with our lives. Filled with the emotions of people that have been working in the music business for decades, YLT knows what “falling out of time” would allow them to see and feel. I can’t put it into words, but I don’t have to because YLT does that for me.


Hubley’s dreamy vocals are backed up by a beautiful and simple guitar along with ethereal background tunes to put our minds at ease as we turn towards regret once again. How are we not supposed to regret the silly things that we each perceive as mistakes? “Aselestine” is YLT’s acceptance and voice of beauty in the regret of not using our time efficiently because there’s beauty in mistakes. 

This Stupid World

Ah, the title track. How could any band not fall in love with their album’s title track? In this song YLT imbues every loving feeling they have into the deep throaty hums of their guitar, the echoing shakes of a tambourine and of course a quiet outcry from the vocals. YLT has the world’s attention when it complains about “this stupid world is killing me/ this stupid world is all we have”. 

What A Stupid World

Yeah, this world is stupid. This world is also beautiful. And, as I mentioned in MooM’s album review, this world is filled with anger. In both “This Stupid World” and “Plague Infested Urban Dump of the Future” there exists the convoluted threads tying all of these unique expressions of emotion together. 

Both YLT and MooM have their niche of people listening to their music. People filled with anger and surges of vengeance, and/or people lost and trying to find a way to accept that time isn’t going to give them what they want. (Both of these types of people are feeling the same thing but they react to their emotions differently). By appreciating the viewpoints of both these unique artists, we can find the beauty in the rage and the disgust in our fears.

Yo La Tengo will be in the Raleigh area later this year to perform live at the Haw River Ballroom. If you’re a fan like me, you might end up there. 

Classic Album Review

“Small Grey Man” by Uranium Club

One of my favorite weird bands is coming out with another weird album.

The Minneapolis Uranium Club, known also as simply Uranium Club, are a four-piece band operating out of Minneapolis.

Most of Uranium Club’s songs sound like if someone gave a gnome a journal and then introduced it to existential angst and avant garde film.

Distinctly DEVO-esque, this (egg punk?) band defines itself by an eclectic, twangy style that straddles the line between new wave and punk.

The band got their start in 2016 with their first album, an originally cassette-only release titled “Human Exploration.”

Cover for “Human Exploration” by Uranium Club

It’s a great album. The tracks are jaunty and entrancing and the lyrics are weird, abstract and occasionally pretentious (though decidedly self-aware). It’s the kind of music best suited for late-night basement shows or long, manic drives.

The band’s recent announcement of their upcoming fifth album, as well as the release of the album’s first track, tacks on another element of excitement and intrigue.

“Infants Under the Bulb”

The band’s upcoming album, “Infants Under the Bulb,” will hit the airwaves on March 1.

According to the band, the album “…opens up the history books of unsolved mysteries – unidentified, unsolved, unanswered subjects of suspicious acts or individuals across the last century” to ask the questions “Who, what, when and where… but mostly, why?”

The band references several unsolved cases, such as the mysterious deaths of the Somerton Man and Peter Bergmann (content warning: postmortem photos) as well as the strange circumstances of Jean-Dominique Bauby, a man who wrote an entire manuscript while experiencing locked-in syndrome.

Details from these cases, apparently, will imbue the contents of the album.

“Small Grey Man”

The theme of “strange phenomena” is compelling, especially with the band’s track record for tongue-in-cheek humor and witty prose. A taste of this theme can be seen in “Small Grey Man,” the first track of “Infants Under the Bulb,” which came out as a single on January 18.

Like a spoken-word poem, the bizarre lyrics reference both the Somerton Man and Peter Bergmann (both the actor and corpse). Wordplay, entendre and fantasy come together to capture the incongruous sensation of stumbling upon an unsolved mystery and being left with questions forever unanswered.

Cover for “All Of Them Naturals” by Uranium Club

Throughout the song, the speaker’s identity appears to shift as he imagines himself as the two men, speculating that they were spies who found themselves as corpses upon the beach — perhaps murdered, perhaps victims of suicide — due to a strange twist of fate. The ambiguity of their circumstances and the mystery surrounding their identities rings out as the speaker questions, “What’s your name?” and “Who are you?”

If there’s so much apparent depth to just a single song on the album, I can’t wait to explore the other ten.

Here’s the official tracklist:

1. “Small Grey Man”
2. “Viewers Like You
3. “Game Show”
4. “The Wall Pts.1&2”
5. “Tokyo Paris L.A. Milan”
6. “The Wall Pt.3”
7. “2-600-LULLABY”
8. “Abandoned By The Narrator”
9. “The Ascent”
10. “Big Guitar Jack– In The Sky”
11. “The Wall Pt.4”

Classic Album Review

Ween’s “12 Golden Country Greats”

Ween’s “12 Golden Country Greats” is both a deservedly hated and loved album. It represents some of Ween’s strangest, most homophobic, misogynistic and racist lyrics, while also being incredibly well produced and extremely unique. 

Over the last few years of listening to this album, my opinions on the track and album have changed and changed and changed. I still don’t know how I feel about the album as a whole because musically it is really well put together with tons of fantastic guest stars to back up Gene and Dean Ween (Aaron Freeman and Mickey Melchiondo).

“12 Golden Country Greats” was released on May 6, 1996 under Elektra Records. Dean and Gene Ween are vocals on every track, but they were limited in their instrument playing during the recording of the album because of the amount of talent brought in to record (interview with album producer). Some of the folks that played on this album were Bobby Ogdin (piano), Charlie McCoy (organ, banjo, bass, harmonica, percussion, trumpet, tuba, vibraphone) and The Jordanaires (backup vocals on “I’m Holding You” and “Powder Blue”).

12 Golden Tracks:

Japanese Cowboy

By reading the title alone you are wondering why this band hasn’t been “canceled” or shunned into oblivion. I still wonder that too, but damn these songs are catchy. It’s like a kind of guilty catchy when you are eating a whole line of Oreos at 2 am in the kitchen. 

This track features the lyrics “Like a Japanese cowboy or a brother on skates” in its chorus. I don’t know what Ween was trying to do with stereotypes about Japanese cowboys, but they use it in a metaphor to signify “something ain’t right”. Obviously, this is racist. (I hope I don’t need to say why…)

Piss Up A Rope

And of course the next track is misogynistic. Warning, there are curse words in this one (oooh scary). This song reminds of the MF DOOM track that features prominent homophobia (“BATTY BOYZ”), which is its own issue. Again, with this track I have no idea what Ween was trying to do. (Highschool me definitely thought this was funny, but at this point it is just nostalgic).

With lyrics like “She got time for the dog and none for her man” and “You ride my ass like a horse in the saddle/ Now you’re up sh*t’s creek with a turd for a paddle” it’s hard for me to believe this track was written to be taken seriously. 

I’m Holding You

Wow. It’s like a normal country song written by normal people. This song is the opener to the album. Some of the lyrics are the off-putting Ween weird, but nothing that places you in some hateful territory like the previous two tracks. I love the instruments on this. They remind me of what classic western movies should be sounding like. 

Powder Blue

Another almost normal country tune by Ween. That should have been the title of this track. Fun fact about this song is that about a whole minute of the song was cut by the studio because of a Muhammad Ali quote that was featured at the end (so recalls the record producer). Now the song abruptly ends. Either way, this track is a fine groovy tune. 

No More Country Greats

This album is… something. Even after trying to write about it, I still can’t figure out if I like the whole thing, three tracks or nothing because it’s tainted by “Piss up a Rope”, “Mister Richard Smoker” and “Japanese Cowboy”.

You know, you are welcome to form your own opinion on this. Cool. That works. But also, the reason I wrote about this album is because I had a sudden urge like my aforementioned Oreo binging behavior to cram something down my ears and into my head that reminded me of something I’d left behind in high school. (I’m still lookin’ for that something because this album helped me find nothing).

Kind of cool news about Ween: they’ll be on tour in the Raleigh area in April, so if you like their music you can find tickets to their shows online.

Classic Album Review

“Manic Ride” by BL’AST!: Reissue of a Hardcore Punk Classic

Hailing from the far reaches of… Santa Cruz, California is the band, BL’AST!. They are a hardcore punk band that was active during the epoch of Black Flag, and BL’AST! Is picking up steam again. 

Manic Ride” is the remastering and release of an album that was unsatisfactory for the band members originally, but now that it has been re-done, it can be loved by all (Source is BL’AST!’s Bandcamp page).  For previous album remasters, BL’AST has worked with notable artists like Dave Grohl and Corrosion of Conformity (source is Southern Lord).

After forming in 1982, BL’AST! made music as a group for about 7 years then quit. They were influential among punk rockers and early hardcore enthusiasts, but their breakup helped them die quietly in the background of punk rock. They’ve since come back from the dead multiple times to make new music with new band members (source Southern Lord). 

“Manic Ride” is their most recent project, which was re-released in March 2023. Besides the sick cover art by Justin Forbes (as stated by an Idioteq article), I was drawn to this album because it comes from a revered influential hardcore punk band. 

“Manic Ride” – Hold on…

BL’AST!’s work and the entire team’s work on this album is phenomenal. It sounds really beautiful and I can tell a ton of work and love has been put into this project to make it sound as good as it does. 

These tracks are pretty lengthy for a punk band (most tracks are over four minutes long) and feature heavy guitar, drums and thick vocals. It’s a step back into the original punk era sounds with plenty of reimagined sounds too. 

The most notable tracks to me are:

Overdrive” – a fast-paced track focused on facing annihilation.

Out Of Alignment” – a neat song about being an outsider in a world against you (very classic punk theme of course).

Powerize” – this one is a little more electronic sounding with a neat opening guitar that left me trembling throughout the whole song. 

Look Inside” – this track is the longest on the album and again opens with some deep, bassy drums (like “Out of Alignment”). It’s about being drained and feeling worn down and angry about it. 

Overall this album is pretty neat. At the moment it won’t be my go-to hardcore punk release, as there are so many excellent releases from the 1980’s and beyond to enjoy, but I love the feelings exuded throughout the album. I need to sit and listen to this album even more for it to potentially blossom into a new-found favorite.

Classic Album Review

Amaara’s “Child of Venus”

Surprise! I’m not writing about local or hardcore music. Instead I’m doing a small break from loud noise and focusing on Amaara.

Amaara is a moniker for “multimedia” artist, Kaelen Ohm, and “Child of Venus” is the first full length album released by Ohm. The album is a blend of pop, ethereal sounds and smooth, syrupy vocals. 

“Child of Venus” was released earlier this year on July 7. I have been listening to it as soon as it popped up on my Bandcamp page because the album art looked intriguing, and I’ve been hooked ever since. 

Ohm wrote, composed and produced every song on the album. She also performs vocals, synths, guitar, piano, bass and backing vocals. Ohm got some help in the percussion, and wasn’t able to do that herself. It’s extremely impressive to me to see artists able to conquer all these instruments and have tons of talent to create a whole album like this. 

“Child of Venus”

Track 2: “The Discover of Innocence Is Its Loss (Wide Open)

The album opens with “Child of Venus”, the title track, but I found this song to be way stronger and impressive. It literally opens with “a shot to the heart” and the album continues to escalate from this point (Ohm’s Lyrics on Bandcamp). 

Track 4: “New Love’s Mortal Coil

Easily a new love, akin to Lana Del Ray in vocals and vibe, but still Amaara is her own unique recipe of gooey, ghostly and good songs. The music video is a lil’ silly, but the song remains one of my favorites on this album.

Track 6: “Shimmering Light / Visions

Absolutely my favorite track of this whole release. The slow build up into the “Visions” half of this song really keeps me 100% involved every second of it. I love the windy road and adventure we go on by listening to this track. 


This album’s got a few slow moments, maybe even a couple of dull ones (*cough* “Still” *cough*) – either way, I think Amaara’s got a lot of great energy going into her style and sound. I’ll absolutely keep listening to my favorite tracks and be on the constant lookout for new projects by both Amaara and Ohm herself.

Classic Album Review

A Slate of Fall Albums For Fall ’23

We are well in to the fall season for 2023. So, I figured I’d do everyone a favor and present a slate of some classic albums released during the season I’d recommend for the ears of those in need of some fall tunes to jam to.

Cover art of "Tender Buttons" by Broadcast

“Tender Buttons” By Broadcast (2005)

Tender Buttons” is the third and final studio album from the U.K based group Broadcast. This album is the result of the work from the recently downsized duo of Trish Keenan (vocals, guitar, keyboard) and James Cargill (bass) following the exit of several band members.

This album can be described a more bare form of the music that many were accustomed to hearing from this band before its release. That being said, the base essence of dream pop and indietronica sounds can be heard in this album’s entirety.

Favorite Tracks:

  • “Michael A Grammar”
  • “Tears In The Typing Pool”
  • “Black Cat”

“Love Deluxe” By Sade (1992)

Considered a classic by many, “Love Deluxe” is the fourth studio album from English band Sade. This is an album very special to me as I often find myself frequently coming back to it and it will play the same for me at any time of day.

The album takes listeners through multiple genres including: cool jazz, classic R&B, and lush ambience all supporting the timeless vocals of lead singer Sade Adu.

Favorite Tracks:

  • “Pearls”
  • “No Ordinary Love”
  • “Like a Tattoo”

“Everything But The Girl” By Everything But The Girl (1984)

Everything But The Girl” is the self-titled release of the U.K based duo Tracey Thorn and Ben Watt. The album itself consists of mainly a sophisti-pop genre with aspects of jazz and lounge music sounds.

A fun fact about this album is that Thorn and Watt were close friends with band members of The Smiths at the time and this album even features The Smiths guitarist, Johnny Marr on the harmonica for the song “Native Land”.

Favorite Tracks:

  • “Tender Blue”
  • “Never Could Have Been Worse”
  • “Mine”

“The Ooz” By King Krule (2017)

While its the most recent album on this list, “The Ooz” holds a significant place in my heart. King Krule is the stage name of Archy Marshall and this project from him truly feels like a lost piece of media in its truest essence.

The album plays with a psychedelic core backed with mellow jazzy sounds along with many songs containing post-punk elements.

The lyrics on this album are some of my favorites not only from King Krule but in general for me, they are very hard to forget due to how well they are delivered on each track.

This album also highlights a fair amount of somber tones and topics along with the heavy theme of introspection from the point of view of Archy himself. I feel that the overall cool vibe of the album plays especially well in the fall season.

Favorite Tracks:

  • “Cadet Limbo”
  • “Slush Puppy”
  • “Dum Surfer”

Final Thoughts

Ultimately, I’ll say once again that all of the songs on this slate are strong recommendations from me and I would go even further and say that these each of these albums were released during the perfect season for them.

Thanks for reading, hope this helped in some way and remember to stay cool.

– MJ :p