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This is not an album review: Katy Perry – 143, 2024 (Anti-Review)

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Katy Perry’s new album 143 is the musical equivalent of a rock hitting your windshield on the freeway: minor impact but becomes a major inconvenience and waste of time to assess.

I’m sure you’ve heard countless critics and former fans shit all over this album already, so I want to offer a different perspective. To understand how we ended up here at 143, we have to evaluate where we’ve been.

The beginning of the end, Katy’s 2017 outing Witness was undoubtedly the epitome of cringe in its marketing approach and single selection, but a few deep cuts shone through the massive pile of garbage. “Power,” “Chained to the Rhythm,” and “Bigger Than Me” showed there was perhaps something redeemable under all the rubbish. Right?

And here’s the thing: I actually like Katy Perry’s last album Smile.

On a critical level, it is a hot mound of shit. On a personal enjoyment level, it’s great. There are some real—albeit overly polished—pop bangers on there like “Never Really Over” with its immaculate production (thanks, Zedd) and “Cry About It Later” with its pulsating rhythm. Katy gets a little personal about overcoming struggles and public ridicule on songs like “Resilient,” “Daisies,” and “Not the End of the World.” And some underrated gems like “Tucked” and “Champagne Problems” will remind listeners of the more carefree Teenage Dream or One of the Boys. Yes, the lyrics are pretty nonsensical on some songs, like “Harleys in Hawaii,” but somehow I still find it to be an enjoyable trainwreck—or motorcycle accident.

And I would be remiss to not mention some of the non-album singles surrounding the Smile era, such as “Small Talk,” “365 (with Zedd),” “Electric,” and “Never Worn White,” all solid anthems with easily digestible messages and straight-forward pop musical accessibility. (There’s also “When I’m Gone” with Alesso, which came out at the very end of 2021. It’s a bit after the Smile era, but it fits that same mold.)

Smile is awful; I love it.

But Smile also revealed an ongoing … problem. The album’s title track first released with a featured guest, but it has now been so heavily erased from the internet, it almost feels like a Mandela-effect-induced misremembering. “Smile” originally featured Diddy, a known abuser in the music industry. Seriously, you expect me to believe no one in Katy’s camp knew about his allegations before green-lighting the collaboration?

They scrubbed his feature from the song after a bit on listening platforms, and you can only find it now on certain physical copies of the album which I assume had already been pressed before the decision to remove him. Some fan-uploaded videos are still floating around out there with Diddy’s feature, but almost all of them have less than 500 views. (Also, Katy was hanging out with Diddy many years prior, circa 2017 or 2018.)

Katy Perry herself was also the subject of negative backlash in a similar vein after surprise kissing a young American Idol contestant without his consent, an old video of her sexually groping then-underaged popstar Justin Bieber resurfaced, and another video of her groping a young Shawn Mendes also came under scrutiny. (It’s exceedingly possible there were many other acts that weren’t caught on camera.) She was also accused of bullying American Idol female contestants, which did not bode well in tandem with and appeared antithetical to her “female empowerment” messaging.

I know you’re probably thinking, “Come on, what does an artist’s personal mistakes have to do with their art?” in regards to both Katy and Diddy. Look, while some listeners may be able to separate the art from the artist, most of us have a beating heart and just feel viscerally icky listening to the music of and supporting abusers.

So 143 happened. And dear God, it only gets worse.

Every song except “Wonder” was produced and cowritten with Łukasz Gottwald, more widely and professionally known as Dr. Luke. If you’ve been living under a rock, Dr. Luke assaulted and raped pop artist Kesha among other horrific, disgusting things. She basically lost a legal battle over it, but she went on to make lemonade on her 2017 comeback album Rainbow. Dr. Luke walked away without so much as a scratch on his reputation in the industry, although conscious consumers heavily frowned upon his continued inclusion.

So tell me why the hell Dr. Luke produced and cowrote Katy’s latest female empowerment single “Woman’s World”? It feels beyond empty and overall phony. I genuinely wonder if Katy was forced to endure making an album with Dr. Luke as some kind of punishment by her record label for her back-to-back commercial flop-fests in 2017 and 2020. Has anyone checked in on her? Is she okay?

Then again, birds of a feather flock together. Given that Katy is no saint herself, I’m really not all that surprised. Plus, Katy routinely worked with Dr. Luke on past albums pre-Witness, so what’s new?

Truly, it’s disheartening to watch one of the 21st century’s most successful popstars fall from grace in this manner. Think back to 2008 when songs like “Hot n Cold” and “I Kissed a Girl” dominated radio airwaves. Remember the early 2010s when Katy’s pop behemoth Teenage Dream was inescapable? It was unignorable for good reason: that album slaps! She achieved three solid years of hit singles from that one record and its deluxe version, raising her chart numbers to rival only Michael fucking Jackson. Teenage Dream is without a doubt one of the best pop albums of the 2010s. Her 2024 VMAs performance seemed to be an attempt at reminding the general public of her stature.

We can give Katy Perry her flowers and criticize her, too.

As a guilty Smile enjoyer, I have facilitated numerous conversations over the past four years with coworkers and friends about exactly how monumental Katy’s career has actually been. It seemed like people wanted to forget—or even erase—her success after 2017’s embarrassing Witness era. I tried to introduce former fans to her newer material because I could still identify glimpses of Katy’s initial appeal buried under all the dirt.

But 143 is the final nail in the coffin. It’s indefensible. Not only are the optics and implications of working with Dr. Luke horrendous, the album itself is also piping hot garbage. From pure speculation, it’s clear the label was desperate for Katy to return to whatever might have made her popular in the first place. Maybe it’s the mindless lyrics? Maybe it’s the boring production? Maybe it’s working with Dr. Luke? Maybe it’s the hair? Whatever it was, we have to bring it back!

They fail to realize that Katy became so likable because of her outlandish nature and unabashed expression. Releasing an ~edgy~ album with a song titled “Ur So Gay” but also kissing a girl and enjoying it? That’s intriguing! Her scantily-clad flaunting on “California Gurls” and sloppy drunk partying on “T.G.I.F. (Last Friday Night)”? That’s fun! Catchy pop hooks and empowering fight songs on Prism? That’s radio gold, baby!

When her quirky escapades became theatric and attention-seeking throughout the release of Witness, that’s when her eccentric demeanor became inauthentic and unlikable. Leaning into the clown insults through the aesthetics on Smile was salt in the wound and only made the public take her less and less seriously. All the lyrics about resilience showcased on that album were simultaneously too stodgy for the average listener to care about and yet too provocative to enjoy on a pop-friendly level.

So Katy’s team wants to revert back to the basics: senseless lyrics, upbeat pop songs, and, well, dark hair. Focus on her body, focus on her clout, focus on anything but what makes her genuinely human. Her overly airbrushed, chrome-gilded image for the 143 era turns out to be plainly unrelatable and increasingly lifeless. Any unique personality that Katy had left in her has been stripped away and covered up. She has become a husk, a sad shell for her label to milk dry and make a quick buck off name recognition, featured guests, and outrage. (Seriously, this album feels like ragebait. It’s like it’s intentionally bad so everyone talks about it.)

From this perspective, I almost feel bad for Katy Perry.

This is not an album review. I’m not here to break down every track and give my thoughts. I’m judging this more as a situation holistically. I believe context is important when discussing and critiquing music, even though this album has such little substance; it’s hard to properly critique something when there’s simply nothing much there. Separating the art from the artist is a coward’s poorly rationalized excuse to deflect from pondering why they choose to support something or someone so irredeemable.

From this perspective, I don’t almost feel bad for Katy Perry.

Best Albums of 2021

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It’s that time of year. 2021 is finally coming to a close, and with it we will reflect on all the music this year had to offer. From amazing solo debuts to unexpected comeback records, plenty of LPs blew us away in 2021. As a quick recap of 2020, our top three albums from that year were Cherry Blossom by The Vamps, folklore by Taylor Swift, and Superbloom by Ashton Irwin. Before we get into the 2021 list proper, let’s give a rundown of some honorable mentions and shoutouts that we hope you’ll take the time to listen to. (In no particular order.)

Honorable Mentions & Shoutouts

  • Honest Men – Field of Vision
  • Snail Mail – Valentine
  • Julien Baker – Little Oblivions
  • Piqued Jacks – Synchronizer
  • Ashley Monroe – Rosegold
  • Citizen – Life In Your Glass World
  • Maple Glider – To Enjoy Is the Only Thing
  • Tune-Yards – sketchy.
  • Delta Goodrem – Bridge Over Troubled Dreams
  • Birdy – Young Heart
  • Grayscale – Umbra
  • Jeremy Zucker – CRUSHER
  • Fiddlehead – Between the Richness
  • Vistas – What Were You Hoping To Find?
  • Porter Robinson – Nurture
  • Yellow Ostrich – Soft
  • Madi Diaz – History of a Feeling
  • Carpool Tunnel – Bloom
  • Laura Stevenson – Laura Stevenson
  • Michigan Left – Capsize
  • Free Throw – Piecing It Together

Best Albums

These are our most played, favorite albums from 2021. To call them the “best” albums of the year seems like a stretch; just because we enjoy something on a personal level doesn’t mean it’s spectacular critically. But maybe you can hear me out on these…

9. Justin Bieber – Justice

Look, I know this is probably not the best way to start out the list, but Justice truly has its moments. Bieber leaves behind the lowkey alt-R&B of 2020’s Changes for a sleek, energetic blend of pop rock, electro, and indie pop on Justice. As with any JB record, it’s still quite sterile and safe. However, despite owning the horrible “MLK Interlude” and other samples of King’s speeches, Justice ultimately serves as Justin’s homerun comeback, especially into the mainstream by scoring big hits like the smooth R&B jam “Peaches” and the gospel-inspired “Holy.” The real gems on this record are found in the deeper cuts. Songs such as “Hold On” and “Somebody” offer up a delectable mixture of ’80s-esque synths and percussion with modern-day production qualities, which is also akin to the more mellow tracks “Deserve You” and “Die For You.” The vivacious reggaeton beat of “Love You Different” will remind listeners of Justin’s memorable outing Purpose, and the world-influenced “Loved By You” gives the album some different flavors. But we find Justin at his most reflective on the rawer tunes like “2 Much,” “Unstable,” and “Off My Face.” The straightforward pop nature of “Ghost” and “As I Am” makes them destined for radio, and the track “Anyone” is surprisingly a romantic power ballad. While the album is a bit all over the board with its styles and collaborators, it still feels relatively cohesive and each individual song shines in its own ways.

Best tracks: “Hold On,” “Deserve You,” “2 Much,” “Name (ft. Tori Kelly) [Bonus Track]”

8. Olivia Rodrigo – SOUR

Olivia Rodrigo’s debut album SOUR is a sweet listen with a bitter sting to its subject matters. Even more, she seems to ride the wave of a rock revival in the mainstream with searing guitars and live drums, something quite daring for a future star’s initial effort. At only 18 upon its release, Olivia explores typical teenage struggles of heartache, self-esteem, social media, and fitting in, although many listeners beyond her age group have found themselves relating to such topics as well. Perhaps the musicality of the album facilitates that; songs like “good 4 u” and “brutal” will remind you of pop punk bands that found their footing in the mid-2000s, and the tracks “drivers license” and “deja vu” seem to take cues from the playbook of 2010s pop artists like Lorde and Taylor Swift when working with Joel Little. There are a few singer/songwriter cuts on the record as well, like “favorite crime” and “enough for you,” which are nearly timeless in their instrumentation. While I acknowledge that many may rightfully deem SOUR as melodramatic, derivative, and undercooked, it displays Olivia’s potential as a rising artist and writer. Her work with Dan Nigro as producer is obviously reminiscent of Conan Gray’s 2020 debut full-length Kid Krow, which also drew major influence from Rodrigo’s citations like Lorde, Taylor Swift, and others. This sound seems to be carving out a revitalized path in the mainstream considering how successful and eminent SOUR has been throughout 2021.

Best tracks: “jealousy, jealousy,” “favorite crime,” “good 4 u,” “enough for you”

Okay, okay, maybe this is where the list should realistically have started…

7. Alessia Cara – In the Meantime

Third time’s the charm? After the sensational EP This Summer in 2019, Alessia Cara’s third studio album In the Meantime is possibly her most cultivated and tasteful yet. Instrumentally, Alessia keeps it tight this time around, mainly utilizing guitars, keys, bass, percussion, and the occasional horn section or piano. She also employs vocoder effects on a handful of tunes, which offers some variety, but the vocals alone are still the standout star of these compositions. Alessia’s skill as a singer and songwriter remain unmatched; her voice is velvety and passionate, smooth yet exposed. And her lyrical endeavors here tend to journey outside the box (pun majorly intended). In the Meantime observes emotional self-awareness, coping mechanisms, self-doubt, relationship complications, and uncertainty towards the future, and Alessia approaches these topics with such vulnerability that many big-name popstars would never dare put on display. She also details her struggles with insomnia on “Sweet Dream,” the bouncy lead single that may just be 2021’s supreme sleeper hit (okay, no pun intended).

The bows that tie all these components together are ultimately the production qualities and catchy melodies. Every instrument lives exquisitely in the mix, and the percussion sounds exceptionally crisp. The horn sections are rather luscious, most notably on songs like “Bluebird” and “Box in the Ocean,” and the basslines are as flawlessly rich as can be—my favorite would be that walkdown line featured on “Clockwork.” Alessia Cara truly knocks it out of the park on In the Meantime: her pop sensibility and knack for good hooks coupled with her operatic abilities and pensive lyricism makes for the perfect alt-pop record.

Best tracks: “I Miss You, Don’t Call Me,” “Somebody Else,” “Box in the Ocean,” “Clockwork”

6. Dream Jacuzzi – Lemon Hazy Nights

Dream Jacuzzi’s debut album is a perfect example of accidental genius. As they put it themselves in our exclusive interview, “Consciously, we didn’t realize what we were doing at the time, but subconsciously, we were making something that was fairly cohesive.” The tracklist for Lemon Hazy Nights is structured almost entirely in chronological order of when the band made each song, and yet so many tunes transition nearly seamlessly into the next. In the title track, we hear the line, “Tell me, what’s the last thing on your mind before you close your eyes to sleep at night?” On the following tune “Black Walnut,” the listener is met with this cloudy dialogue about sleeping, beginning with the line, “Hey, what’s the last thing you remember before you fall asleep?” and ending with the words “till I fall asleep,” which of course leads into the next track of the same name.

We also hear birds chirping on a couple songs, like “Redbird,” which is another ribbon that ties the album together. The concept of “lemon hazy nights” is referred to multiple times, a fuzzy idea that the band has ultimately left up to the listener to define for themselves, but it begins to feel as clear as day by the time we reach the end. The unintentional attention to detail even shines through on songs individually. On the tune “Rollercoaster,” a glissando-tinged guitar line emulates the ups and downs of a rollercoaster, sliding from one octave to the other, which is something so astute and yet the band executed it completely coincidentally.

Dream Jacuzzi also shows off their musical versatility on this record, from plucky electric guitar lines to coarsely distorted ones, from glossy keys to organic acoustic guitars. “Purple Skies” is hardly nothing more than an instrumental interlude but it certainly is destined to be one of your favorite tracks. Drawing inspiration from bands new and old, such as Tame Impala, Arctic Monkeys, Pink Floyd, and The Beatles, Lemon Hazy Nights is a refreshing fusion of styles melded cohesively together with clean production, smart songwriting, and alluring vocals.

Made on a whim and with gallons of subconscious expertise, Lemon Hazy Nights is an exciting glimpse into what Dream Jacuzzi is capable of if they actually sat down and put thought into crafting an album. But that doesn’t seem to be how they roll; perhaps the winging-it, foggy-headed style is exactly what they needed to pull these ideas out of their heads. After all, sometimes your best thoughts come to you in your dreams.

Best tracks: “Roselyn,” “Don’t Wanna Fall In Love,” “Leaving Bokim,” “Lemon Hazy Nights”

5. The Brook & The Bluff – Yard Sale

A tragedy I lived through in 2021 was obtaining tickets to see The Brook & The Bluff live in Opelika and then not being able to actually go. Regardless of such misfortune on my part, the band’s newest album Yard Sale is another smashing addition to their discography. The hometown boys are as talented as they are human, as soulful as they are charming, more than ever perhaps on this latest LP. Heavy basslines, impassioned vocals, and lush guitar strumming is customary for The Brook & The Bluff at this point, but they’ve reached a new pinnacle on Yard Sale. Oh, and don’t forget the catchy as hell melodies. But Yard Sale displays another characteristic that seems to be more elevated than ever: the lyrics. “Being perfect goes at this yard sale,” for instance, is not only a marvelous line, it’s also quite meta. This album is ever so perfectly rough around the edges. The band appears to be having more fun than ever, blending their time-honored brand of blues rock with a familiar yet new Beatles-influenced style characterized by cheery acoustic guitars and off-the-wall backing vocals. They also explore some string-based orchestral instrumentation on “Little Sheets” and tackle their first collaboration on a song with Molly Parden on “Wallflower.” Yard Sale is ultimately a delightful retreat into more vintage musical styles uplifted by contemporary production and thoughtful lyricism, and it’s surely a record you won’t want to sell.

Best tracks: “Don’t Go Slippin’ Away,” “Misnomer,” “Doobie Bronson,” “Little Sheets”

4. Lorde – Solar Power

It felt like decades since Melodrama, Lorde’s (incredible) effort in 2017, so of course expectations were through the roof for her radiant return. But Solar Power sounds nothing like her previous records. This album is inching towards psychedelic, delineated by lush guitars and ebullient percussion unlike anything we’ve witnessed prior. Lorde’s signature layered vocals do make an appearance, but she seems to be demonstrating a higher register in her voice and playing with more complicated melodies this time around. Solar Power is more barebones and somewhat minimalistic compared to its predecessors, but it’s quite a welcomed shift in Lorde’s musical catalog. I could almost compare the sunshiny sonority of some of these songs to a peak mid-2000s artist like Natasha Bedingfield (think “Unwritten”) or Corinne Bailey Rae but imbued with hypnagogic styles of the ’60s and ’70s. Although a few of the tracks fall short in the lyrical department, the New Zealand artist delves into some interesting topics, such as “self-care” culture, her famous status, the questionable use of crystals, and the climate crisis we face. This album seems to have flown over many people’s heads. Yes, it’s different and of course it has its shortcomings, but Solar Power is a strong and, well, powerful expansion to Lorde’s discography.

Best tracks: “Stoned at the Nail Salon,” “Fallen Fruit,” “Secrets From a Girl (Who’s Seen It All),” “The Path”

3. Lucy Dacus – Home Video

Lucy Dacus flexes her unparalleled songwriting skills once more on her latest record Home Video. Her third full-length is patterned with religious trauma, familial struggles, plights of sexuality, and dissatisfaction with both the past and the future. Lucy’s creative prowess shines through in her lyrics, characterized by inventive personification (“The sunset threw a tantrum”), vivid specificity (“Back in the cabin, snorting nutmeg in your bunk bed”), sprightly imagery (“Eating cherries on the bridge, feet dangling / Throwing pits and stems into the current below”), and, well, existential dread (“The future isn’t worth its weight in gold / The future is a benevolent black hole”). It’s pure poetry, so good that you can’t dream of laughing, and the subjects viewed feel deeply personal to Lucy and yet construed with such relatability. The album is indeed akin to a home video: exclusively intimate but widely understandable. This is accomplished by that unique specificity employed in the lyrics; the pictures Dacus paints are distinct and honest, but the subjects at hand are tangled emotions that the masses can relate to. (Hence the cover art—Lucy is putting this “home video” on display in hopes of an audience.)

It causes Lucy to feel more human than ever, which is facilitated by the rudimentary instrumentation and unpretentious musicality. Defined primarily by guitars, bass, drums, and the occasional piano, Home Video is authentic in more ways than one. Many tunes are stripped-back in their orchestration, like “Christine,” “Thumbs,” and “Please Stay,” which allows their messages to feel even more exposed. “VBS” is a lovely example of how Dacus utilizes the musical composition to bolster the lyrics, singing “There’s nothing you can do, but the only thing you’ve found / Playing Slayer at full volume helps to drown it out” while crackling into a breakdown of distorted guitars. “Partner In Crime” is performed entirely in autotune, supposedly due to some lackluster vocal takes, but this modification of her voice reflects the falsified nature of the lyrics as well, which explains how she would lie about her age to appeal to older love interests.

Overall, Home Video is like a movie you don’t want to miss. I’ve raved about it enough, now view it for yourself. In fact, I “Triple Dog Dare” you. Lucy’s expressiveness will leave you feeling like you got a front row seat to an old camcorder tape, full of personality and rumination on prior life events. Some may consider it diary-like but I find something charming about a fittingly obsolete VHS from days gone by.

Best tracks: “First Time,” “Thumbs,” “Brando,” “Cartwheel”

2. Luke Hemmings – When Facing the Things We Turn Away From

Imagine a three-way lovechild between Tame Impala, Fleetwood Mac, and Bon Iver while still being original and experimental on its own. That’s essentially a very basic way to describe Luke Hemmings’ solo debut album When Facing the Things We Turn Away From. Confessional and introspective, When Facing is a strong first outing from the 5 Seconds of Summer vocalist and guitarist. The lead single “Starting Line” is, if I had to choose, the least remarkable song on the album, sounding like any typical indie rock soundtrack to some young adult coming-of-age film, albeit still rather enjoyable. Luke shines brightest on his more exploratory moments, marked modestly by his utilization of vocal effects on “Place In Me” and quasi-psychedelic ventures on “Baby Blue.” “Motion” is a dazzling synth-rock tune at full steam ahead, and “Saigon” displays a blissful array of instrumentation. Further still, the more out-of-the-box cuts are songs like “Mum” and “A Beautiful Dream” where listeners are met with glorious walls of synthesizers and guitars amongst changing melodies and vocoder inflections.

Luke’s lyricism is nothing less than impressive, contemplating his romantic relationship and personal sense of self having grown into adulthood under the spotlight. His fiancée Sierra Deaton contributed to many tracks as a backing vocalist and songwriter, which lends a rather wholesome touch to the record. Overall, When Facing the Things We Turn Away From is an exceptional solo debut that avoids being derivative or conceited, offering twelve solid tunes that will stay “living on repeat.”

Best tracks: “Saigon,” “Place In Me,” “Slip Away,” “Diamonds”

1. Taylor Swift – evermore

Yeah, it’s Taylor. Shortly after the surprise drop folklore in the summer of 2020, Taylor Swift returned with a sister album in December titled evermore. Sticking with folklore collaborators Aaron Dessner, Justin Vernon, and Jack Antonoff, evermore is certainly a sister album in sound and demeanor but ultimately serves as an improvement and refinement of what folklore originally aimed to bring to the table. Reflective and emotional indie folk pop (?) is probably the easiest way to define the genre here, but there’s also modern country storytelling on the HAIM-supported “no body, no crime” and orchestral-tinged electropop on “gold rush.” The skittering percussive beat of “closure” and use of vocal effects renders it one of the more experimental songs on the LP, and it may also bring to mind Bon Iver of course.

As folklore presented a shift in Swift’s lyrical writing, evermore further improves upon it. “tolerate it” and “happiness” will undoubtedly leave your heart aching while “ivy” (which has my favorite line: “My pain fits in the palm of your freezing hand”) and “evermore” have the power to transport you to another world entirely. “’tis the damn season” and “coney island” explore strained relationships over captivating rhythms, and “long story short” and “dorothea” stand as the more upbeat songs on the album. The lead single “willow” is a saccharine love song though broodingly mystical and enchanting. (“Witchy,” as Swift likes to say.)

All in all, evermore places Taylor at a crossroads once again; does this style of writing and musicality signal the direction for her future projects? Or is this simply a fever-dream-esque glimpse into what she is capable of as an artist unbothered by the demands of the mainstream? Either way, evermore is our number one album of 2021.

Best tracks: “ivy,” “closure,” “tolerate it,” “evermore (ft. Bon Iver)”

Let us know your favorite albums of 2021 and what you think of our picks down in the comments below!

Q2 & Q3 2020 Alt Col Picks – Taylor Swift, The Aces, Neon Trees, and More

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Oh, hey! Yes, Monthly Picks still exists. Except this time it’s for Q2 and Q3 (second and third quarters of the calendar year). I haven’t talked about many new releases this year, so here are some of my favorite albums, EPs, and singles that I think you oughtta check out. Let’s jump into it!

  • Taylor Swift – folklore

Taylor Swift unleashed the best record of her career as a mid-July surprise, and it immediately swept critics and fans alike off their feet. Taylor retreats to her guitar-playing roots with an almost folk album, tugging at the heartstrings with lyrics that read like a diary. With minimalistic production, candid lines, and cultivated vocals, folklore is without a doubt Taylor’s shining moment. Standout tracks include “august,” “seven,” “peace,” and “this is me trying.” folklore will appeal to fans of Bon Iver, The Civil Wars, and Julie Byrne. Click here to listen.

  • All Time Low – Wake Up, Sunshine

Wake Up, Sunshine has been received as a return to form for the pop punk veterans All Time Low. 2017’s Last Young Renegade was quite the departure from the band’s trademark rock style, but Wake Up, Sunshine reels it back in and better than we could’ve expected. This album is what a solid pop punk LP should sound like in 2020, and it’s nice to have the boys from Baltimore back. Standout tracks include “Safe,” “January Gloom,” “Clumsy,” and “Basement Noise.” Wake Up, Sunshine will attract listeners of State Champs, blink-182, and 7 Minutes In Heaven. Click here to listen.

  • The Aces – Under My Influence

Under My Influence, the most recent LP from The Aces, is the opposite of a sophomore slump. This triumphant record displays the Utah band expanding their sound and trying out new styles with it rather than sticking with the same old, same old or switching things up entirely. This more refined approach certainly offers up some ’80s-inspired pop rock bangers you don’t want to miss. Standout tracks include “Kelly,” “Daydream,” “Not Enough,” and “Can You Do.” Under My Influence is sure to capture fans of Fickle Friends, Scavenger Hunt, and Neon Trees. Click here to listen.

  • The Magic Gang – Death of the Party

Looking for some indie rock that isn’t watered down or boring? Here’s your album. UK band The Magic Gang’s second LP Death of the Party is a refreshing release and another great hit in the group’s discography. Buoyant guitar riffs, catchy choruses, and bright horn sections dominate Death of the Party, as well as thought-provoking lyricism. Standout tracks include “Make A Sound,” “Death of the Party,” “I Am Sunshine,” and “Make Time For Change.” Death of the Party is bound to satisfy followers of The Vaccines, Lady Legs, and Driver Friendly. Click here to listen.

  • Neon Trees – I Can Feel You Forgetting Me

No, Neon Trees, we haven’t forgotten about you and we missed you so damn much. Six years after their last full-length Pop Psychology, Neon Trees finally return with their latest record. Filled to the brim with gleaming synths, syrupy hooks, and heartfelt lyrics, I Can Feel You Forgetting Me is a melancholic yet joyous mixture of spirited indie pop and soulful songwriting. Standout tracks include “Mess Me Up,” “Everything Is Killing Me,” “Nights,” and “Going Through Something.” I Can Feel You Forgetting Me will please fans of The Aces, MOBS, and Twin XL. Click here to listen.

  • Charlie Barnes – Last Night’s Glitter

Gentle plucking of an acoustic guitar and tastefully ardent vocals characterize Charlie Barnes’ latest LP Last Night’s Glitter. This most recent outing is primarily a redux of Charlie’s past tunes, transitioning them from piano ballads or upbeat indie pop songs to stripped-down acoustic schlepping and operatic voice performances. Standout tracks include “The Weather,” “All I Have,” “Last Night’s Glitter,” and “Ruins.” Last Night’s Glitter will attract followers of Chris Dupont, Sean McConnell, and Ralph Pelleymounter. Click here to listen.

MORE GREAT ALBUMS

  • Lady Legs – Off Days

Breezy indie rock begging for replays. Standout tracks include “Idle Hands,” “Quit Bringing Me Down,” and “Not Right.” Off Days is for fans of The Magic Gang, Steppes, and LEDGES. Click here to listen.

  • Movements – No Good Left To Give

Another gut-wrenching outing filled with impassioned vocal performances and ripping guitars. Standout tracks include “Skin To Skin,” “Don’t Give Up Your Ghost,” and “Moonlight Lines.” No Good Left To Give is for fans of Citizen, Turnover, and La Dispute. Click here to listen.

  • Vistas – Everything Changes In the End

Upbeat indie pop rock that’ll make you feel at least five years younger … in a good way. Standout tracks include “November,” “Retrospect,” and “Tigerblood.” Everything Changes In the End is for fans of Sports Team, Bleachers, and Walk the Moon. Click here to listen.

  • Hayley Williams – Petals For Armor

The pensive singer/songwriter solo project from Paramore’s frontwoman. Standout tracks include “Cinnamon,” “Leave It Alone,” and “Crystal Clear.” Petals For Armor is for fans of Soccer Mommy, Maggie Rogers, and Julien Baker. Click here to listen.

  • Stand Atlantic – Pink Elephant

Solid pop punk with strong vocals and catchy riffs. Standout tracks include “Wavelength,” “Blurry,” and “Like That.” Pink Elephant is for fans of Seaway, With Confidence, and State Champs. Click here to listen.

  • A. Swayze & The Ghosts – Paid Salvation

Rowdy, punk-tinged garage rock. Standout tracks include “Nothing Left to Do,” “Mess of Me,” and “Connect to Consume.” Paid Salvation is for fans of WAAX, Bad//Dreams, and White Blanks. Click here to listen.

  • PVRIS – Use Me

Tasteful amalgam of electronics, acoustic guitars, and layered vocals. Standout tracks include “Dead Weight,” “Loveless,” and “Death of Me.” Use Me is for fans of Deaf Havana, Maggie Lindemann, and Emarosa. Click here to listen.

  • IDLES – Ultra Mono

Dude, it’s IDLES. Standout tracks include “The Lover,” “Model Village,” and “Mr. Motivator.” Ultra Mono is for fans of Protomartyr, Girl Band, and Heavy Lungs. Click here to listen.

 

Extended Plays

  • Pinkish Blu – there’s no such thing as good people

Best EP you’ll hear all year. Standout tracks include “Calm Down” and “Red Hot Moon.” there’s no such thing as good people is for fans of LANY, Heart of Gold, and MILKK. Click here to listen.

  • Troye Sivan – In A Dream

Standout tracks include “Rager teenager!” and “Take Yourself Home.” In A Dream is for fans of Ruel, Years & Years, and Lorde. Click here to listen.

  • Go For Gold – Color Me

It’s pop punk. Standout tracks include “Forget About It” and “Tone.” Color Me is for fans of Neck Deep, Gold Steps, and The Story So Far. Click here to listen.

  • Day Wave – Crush

Standout tracks include “Potions” and “Starting Again.” Crush is for fans of Surf Rock Is Dead, Craft Spells, and Plastic Picnic. Click here to listen.

  • American Authors – Counting Down

Standout tracks include “Sky’s the Limit” and “Counting Down.” Counting Down is for fans of The Mowgli’s, Colony House, and The Griswolds. Click here to listen.

  • Bears In Trees – I Want To Feel Chaotic

Standout tracks include “Permanence” and “Cobwebs.” I Want To Feel Chaotic is for fans of spookyghostboy, McCafferty, and Beach Bunny. Click here to listen.

  • Until We Get Caught – Surface

A splendid maturation of sound. Standout tracks include “Fading Out” and “Ghost.” Surface is for fans of Outwaves, Bring Me the Horizon, and A War Within. Click here to listen.

  • hellocentral – HEATWAVE

Standout tracks include “Lsof” and “One More Sunrise.” HEATWAVE is for fans of A Will Away, Less Than Jake, and Oh, Weatherly. (I think?) Click here to listen.

 

Featured Singles

Dream Jacuzzi hits another homerun with this single, filled with up-tempo guitar strumming, hazy vocals, and playful percussion. Most notable may be the striking guitar solo or the personal yet relatable lyrics.

Chance’s most recent LP portraits was crowned our best album of 2019, and after a string of solid singles, “Bad To Myself” is an empowering and emotional catharsis as Chance explores his recovery from anorexia.

For the first time, Local Natives has an EP on the horizon, and its lead single “Statues In the Garden (Arras)” is a chill, mellow contemplation contrasted with sweet melodies and soaring backing vocals.

Dan Burke, former lead vocalist of Off the Record, hits the ground running with his newest project. Among his first few singles, “flights” is a heartfelt yearning that sets the tone for this band’s direction.

The debut solo single from 5 Seconds of Summer’s Ashton Irwin is a reflective look into Irwin’s personal struggles with body dysmorphia, delivered via an acoustic ballad void of his signature instruments: drums.

The Vamps kick off their new LP with the lead single “Married In Vegas,” a jaunty pop rock tune charged to the brim with sky-high vocal peaks, dashing piano melodies, and spirited percussion.

Blake’s farthest step into an acoustic folk direction is a shining ballad characterized by vivid lyrics that are as painful as they are beautiful.

Bastille’s “survivin'” is a breezy reflection on the band’s career thus far and a testament to their resilience, as well as their openness to explore new styles and sounds.

Let us know what you think of Q2 and Q3’s releases down in the comments below!

Our Alt Col Picks are curated lists of the best albums and EPs for each month! We keep a schedule of upcoming releases and pick our favorite ones at the end of the month, giving them a spotlight here and on Twitter. To be featured in one of our lists, hit us up on our contact page or Twitter, though nothing is guaranteed. (We occasionally include past releases, so for instance, if your album came out in June, we might be able to feature it in our post for July or August.)