Even more so than his debut, this album finds Bartees swinging for the fences, coming out with a version of indie rock that's refreshing and frequently life-affirming. As on his 2020 debut album Live Forever, he casually defies genre, incorporating bits of hip hop on "Mulholland Dr," straight-up rapping on "Cosigns," and bringing in twitchy electronics on "We Were Only Close For Like Two Weeks." With "Black Gold," he fuses a soaring falsetto with a glitch-infused backdrop that recalls and rivals self-titled Bon Iver (one of the artists he namedrops on "Cosigns"). With "Hold The Line," "Hennessy," and the folky "Tours," he contrasts those bangers with a more ballad-driven side that's just as arresting. On songs like "Heavy Heart" and "Escape This Circus," he reaches explosive climaxes that really put the "rock" in indie rock. And with his label debut Farm To Table, he's written an ambitious indie rock album that stands tall next to both of those bands.
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Right off the bat, he was releasing covers of bands like The National and TV on the Radio, and now he's signed to the label that both of those bands released classic albums on, 4AD.
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In more recent years, the genre has seemed split between artists who want to go full pop and artists who want to go back to the more humble sounds of '90s indie, but Bartees Strange is here to pick up where his mid 2000s heroes left off. Indie rock with musical ambition never fully went away, but it hasn't been as fashionable lately as it was in the mid to late 2000s. The album earns its 82-minute running time by accomplishing so much, connecting the traditional to the futuristic, the alternative to the pop, and coming out with another collection that is sure to birth multiple blockbusters.
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"Tarot" reconnects Bad Bunny with Jhay Cortez, who aided him on his massive breakthrough song "Dákiti," and fellow Urbano giant Rauw Alejandro lends starpower to "Party," while the album also brings in The Marías to help Bad Bunny go synthpop on "Otro Atardecer," Buscabulla for the Latin dream pop of "Andrea," and Bomba Estéreo to add their art pop twist to "Ojitos Lindos." He also tips his hat to his forebears with appearances from longer-running reggaeton artists Tony Dize and Chencho Corleone. "Me Fui de Vacaciones" is full-blown reggae. After a tribal-y intro, "El Apagón" does a 180 and turns into thumping house music. The calm, acoustic "Yo No Soy Celoso" flirts with bossa nova. About a quarter of the way into "Después de la Playa," he breaks out into lively mambo. Plenty of songs recapture the Latin trap magic that Bad Bunny has become best known for, and there's a lot of other stuff too. Save for the inclusion of "Callaíta," which came out as a single back in 2019, the album was released without any pre-release singles, and once again, Bad Bunny has offered up a sprawling, immersive album with so much to like about it. It's an album that manages to feel like nothing else in her discography, and like quintessential Angel Olsen, all at once.Īfter putting out three projects in 2020, Bad Bunny slowed down a bit in 2021, save for a few non-album tracks and collaborations, but now he's back with his first album in 18 months, the 23-song Un Verano Sin Ti.
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It's Angel Olsen at her freest, most natural, and most honest. Faced with both grief and new love, Angel wrote some of the most introspective, sentimental songs of her career, like the Nashville ballad "All the Good Times," the gently rollicking "Big Time," and sweeping, climactic anthems like "Right Now" and "Go Home." "Some truth is never known until you've lost your hand, until you've had to fight," she sings on "Right Now," and it could double as a mission statement for the entire album. The album came at a major crossroads in Angel's life she began recordings just weeks after both of her adopted parents passed away, which happened shortly after she came to terms with her queerness and came out to both of them. The album comes a week after Wilco used country music to write an album about America, but Angel takes a more personal approach. It's still an Angel Olsen album, still not exactly something that would fly with mainstream Nashville, but it's fleshed out with lap steel, barroom piano, and other twangy elements that suggest a love of anything from Tammy Wynette to Townes Van Zandt. That is, until this year's Big Time, her most direct foray into country music. Her next release was actually a stripped-back, acoustic version of that same album called Whole New Mess, but Angel's music hasn't really passed for folk or Americana since 2014's Burn Your Fire For No Witness. Since Angel Olsen debuted as a bare-bones folk singer over a decade ago, her music has gotten progressively more maximalist, peaking with 2019's grand, orchestral All Mirrors.