Newer Music:

Big Red Machine: How Long Do You Think It’s Gonna Last?

Big Red Machine is the side project of Justin Vernon, more commonly known as Bon Iver, and Aaron Dessner, a key member of the acclaimed indie rock veterans The National. In some music circles, Vernon and Dessner are perhaps most famous for their involvement on Taylor Swift’s pandemic records, but more on that later. Vernon and Dessner initially met and collaborated on a track way back in 2008, but Big Red Machine really started in earnest around 2016 when they joined with Dessner’s twin brother and fellow The National member Bryce to form a music collective and record label called PEOPLE.

The self-titled debut record released in 2018 to critical acclaim featured contributions from over 40 collaborators including Arcade Fire member Richard Parry and a then fairly unknown Phoebe Bridgers. 2020 was a monumental year for Dessner and Vernon—not only were they consumed by work on this next Big Red Machine record, but they were collaborating on not one, but two (!) Taylor Swift records (Folklore and Evermore). Dessner co-produced and co-wrote most of the albums with Swift, while Vernon contributed both vocals and instrumentation on multiple tracks, including the brilliant duet Exile.

Swift returns the favor by featuring on two strong tracks, Birch and Renegade, on the brand new sophomore Big Red Machine album released on Friday. Elsewhere, gifted folk singer/songwriter Anais Mitchell (also of Bonny Light Horsemen) contributes to three of the best tracks on the record in album opener and single Latter Days, somber closer New Auburn, and album highlight Phoenix, one of my very favorite singles so far in 2021. Phoenix benefits from not only the delightful backing vocals of Mitchell, but also a comforting lead performance from Fleet Foxes’ Robin Pecknold and a standout turn by Vernon, of course. To this listener, How Long Do You Think It’s Gonna Last? deserves to be considered a fitting peer with the strongest albums in both The National and Bon Iver discographies.

Standout Tracks: Phoenix; Latter Days; Renegade; Mimi; Reese

Deafheaven : Infinite Granite

I genuinely try to expose myself to a variety of music styles, but one genre of music I have never connected to is metal or any of the various metal subgenres. Over the past decade, Deafheaven records have without fail received shockingly effusive praise, but I have barely been able to make it through a couple of tracks because the general metal guitar and vocal sound is just not my thing.

On their newly released fifth album Infinite Granite, the San Francisco band surprises with a cleaner shoegaze vibe that must be a bit polarizing to many of their fans who prefer a harder sound. For me, the change in approach to more of a polished rock sound is a fantastic development. Lead single Great Mass of Color features anthemic guitar and Morrissey-esque vocals that feel much more appropriate for the indie rock aisle than the metal section. Album closer Mombasa starts off as another dreamy ballad before segueing into a more aggressive second act with harsher guitar and vocals, almost as if to remind fans that they haven’t completely abandoned their roots. Despite the potential fan polarization, this Deafheaven record is again getting fantastic reviews and will likely end up near the top of many year-end lists.

Standout Tracks: Great Mass of Color; In Blur; Shellstar; The Gnashing; Mombasa

Gorillaz : Meanwhile EP

The neverending genius of Damon Albarn continues with a surprise EP released this month following a massive live show performed in London where the Gorillaz collective debuted this new music. As usual, Albarn is more than happy to share the spotlight with amazing guest contributors on each track while effortlessly exploring different music styles. Each of the three tracks on the Meanwhile EP are playful, upbeat tracks perfect for the final weeks of summer fun. The new EP is a tribute the West London origins of the band and is part of the 20th anniversary celebrations of this iconic project and a further testament to the brilliance of Albarn.

Standout Tracks: Meanwhile; Jimmy Jimmy; Deja Vu

Emma-Jean Thackray : Yellow

Yet another interesting record coming out of the UK jazz scene, English artist Emma-Jean Thackray released her buzzed-about debut full-length earlier this summer. Thackray grew up playing the cornet and jazz trumpet before studying jazz composition. She’d previously released four EPs over the past 5 years before the completion and release of Yellow. Lead single and album highlight Say Something is funky as hell and recalls the brilliance of fellow Londoners Sault, a touchstone for many of the album’s more upbeat, soulful moments. Elsewhere, Thackray’s jazz bonafides are on full display on opener Mercury and About That. It’s a thrilling record that promises to reveal more joys with repeated listens.

Standout Tracks: Say Something; Spectre; Golden Green; Sun; Mercury

Throwback Selections:

Merchandise : Children of Desire and Totale Nite

The brilliant Deafheaven lead single Great Mass of Color reminded me of some of my favorite Merchandise records from the early to mid-2010s. The Florida band also started out as a punk and hardcore band and eventually moved toward more of a grandiose indie rock ballad sound. Few bands pulled off the Morrissey and Smiths homage better than Merchandise in the 2012-2014 timeframe. Their 2014 album After The End (and catchy as hell single Telephone) is probably their strongest overall work, but I am partial to mini-albums Children of Desire and Totale Nite from 2012 and 2013, respectively.

Standout Tracks: Time; Become What You Are; Roser Park; Who Are You?; Anxiety’s Door; I’ll Be Gone

More Related Music You Should Also Check Out: Taylor Swift: Folklore and Evermore; Bon Iver; 22, A Million; The National: Sleep Well Beast; Sault: 5