While Oasis, Blur, and, to some degree, Pulp rake it in with reunions bankrolled by nostalgia, Suede are still plugging away as a working band of Britpop survivors. Antidepressants, their 10th studio album, channels their usual mix of light social commentary and first-person misadventure in songs as full-throatedly anthemic as anything in their catalog.
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La Dispute: No One Was Driving the Car [Epitaph]
There’s regular dissociation, and then there’s the three-tiered saga presented in No One Was Driving the Car, La Dispute’s first new album in six years. The Michigan screamo and post-hardcore musicians immerse themselves in the narrative of a man disconnecting from himself as he shaves his head, follows a sex worker outdoors, and ends an aimless walk at night at the hospital before things spiral further. Taking inspiration from the 2017 Paul Schrader film First Reformed, La Dispute’s follow-up to Panorama is intense and brooding as it grapples with self-control, technological consumption, and the feeling of dread that populates the future.
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Flur: Plunge [Latency]
While studying different courses from one another at the London university Goldsmiths, all three members of Flur—Austrian Ethiopian harpist Miriam Adefris, British saxophonist Isaac Robertson, and percussionist Dillon Harrison—submerged themselves in the school’s explorative music scene where they started gravitating towards one another as musicians. After various stints collaborating with artists like Floating Points and Shabaka Hutchings, the three musicians finally formed a proper trio. On Plunge, their debut album as Flur, they merge written compositions and offhand improvisation to showcase their take on classical, ambient, and free jazz.
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‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source pitchfork.com ’
