It's (already) May...
What a crazy month it has been so far?! I only just got back from a lifechanging trip where I saw Loathe and Static Dress live for the first time, which I'm excited to write a recap about in the coming weeks. Sadly I haven't checked out half of what I want to this month, but I'm slowly catching up. In this issue: American Football, Tori Amos, Basement, Rostam (ex-Vampire Weekend), Genesis Owusu, NMIXX, NCT, and more!
American Football (LP4) - American Football
The fourth self-titled American Football album has finally landed, and holy reverb Batman! I love me some mid-west emo, I really do, and even though I prefer Cap'n'Jazz out of all of Mike Kinsella's projects, I'm always down for American Football.
LP4 is the most evolved iteration of their mathy, post-rock/indie sound, leaning into a beautifully haunting and atmospheric experience. The guitar work is utterly enchanting, allowing every song to sound spacious and light, yet seeped in emotion. This record is perfect for those late autumn blues!
What resonated with me the most about LP4 was that there is no real sense of 'closure' at the end. The album aches like an open wound and paints an unstable story about the future, and if the path towards healing is possible. There is nothing more frustrating than feeling like you're drowning in the present, and that, to me, is about as honest as it gets.
Experiencing Feelings of Joy - The Jungle Giants
A really bold title considering the album does little in the way of inspiring such feelings. I suppose it is a rite of passage for every single Australian indie-pop band to pivot towards a highly commercial synth-pop direction, but this sadly doesn't work for me.
The Jungle Giants were one of the most hyped Aussie bands in the early 2020s, definitely one of my personal choices for a 'must-see' act at music festivals during that time. But with how much our domestic market has changed along with the never-ending discourse about the re-structuring of Triple J, some of our veteran indie bands have struggled to to maintain momentum with studio releases after touring for so long.
I wouldn't classify TJG as Double J yet, but they're floundering with their sound right now. But who knows? Maybe this Maroon 5-esque synth-pop direction will bring in a new influx of fans. It's a huge miss for me though.
In Times Of Dragons - Tori Amos
Woah, this Tori Amos' eighteenth studio album? I grew up on her music and I've heard a majority of her albums from the 90s til the late 00s. There is always something incredibly whimsical and elegant about her songwriting that feels like the musical equivalent of reading a Patricia McKillip novel.
I wasn't expecting this album to have a underlying sinister vibe to it, but I really enjoyed this! I don't quite understand the criticism towards Tori Amos for her 'vocal decline' either, because it's ridiculous to expect a woman in her 60s to sing like she did in her 20s. I know people adore her mezzo-soprano vocals, but I feel like Amos has adapted well to these changes - she doesn't sound terrible or off-key, far from it, actually - amd her new direction reminds me of the way Stevie Nicks' performances evolved to account for her voice.
I'm extremely partial towards Tori Amos' lower register as well, which she utilises extremely well throughout this album, bringing a moody atmosphere to certain songs. I'll definitely need to come back to this album multiple times because there's a lot to unpack here, but she is well deserving of her title as a piano prodigy in every way.
Favourite songs so far: Shush, Provincetown, In Times Of Dragons, St Teresa, 23 Peaks, Strawberry Moon, Blue Lotus, Tempest.
This is one of my biggest recommendations this month - I have an inkling that any of my mutuals who enjoy listening to Fiona Apple, Pj Harvey, Bjork, Joni Mitchell and Laufey might enjoy giving Tori Amos a go if you already don't listen to her!
P.S if anyone else here knows that deep cut Tori Amos and Trent Reznor lore, feel free to pop into my DMs. I could spiral about old forum posts for hours!
Wired - Basement
WIRED was one of my most anticipated albums of 2026 and probably this entire decade. I'm a diehard Basement fan since their debut album - you can thank 2010s tumblr for that - and few things have brought me more joy than seeing how triumphant the band's return has been. Their newfound momentum over the past two years is well-deserved, gaining a huge influx of younger and eager fans.
The lead single, WIRED, brings all of Basement's post-hardcore, grunge and emo influences to a contemporary audience. If you're itching for a hit of Basement's heavier, fuzzier, angrier1 crowd moving songs, Time Waster, Sever, and Satisfy have you covered.
The Way I Feel sounds long lost song by my all-time favourite band HUM, whose album You'd Prefer An Astronaut, has achieved an almost cult-like revival thanks to Gen Z. It wouldn't surprise me one bit if HUM are one of Basement's major influences because I can hear traces of their sound throughout this entire album!
Deadweight might honestly be one of the strongest contenders for BOTY (b-side of the year) and hands down one of the best songs Basement has ever recorded, wow! The meandering instrumentation and whiny Kurt Cobain drawl makes me feel like I've discovered a rare bootleg from Seattle, 1993 in the best possible way.
The rest of the album is rather laid back and introspective, and despite opting for a cleaner production style on mellow songs such as Broken By Design and Longshot, it doesn't ever feel over-produced, retaining that signature DIY sound that a lot of Basement fans are drawn to.
Yeah, wow. I loved this. Despite all of the vulnerability and heartache in the lyrics, Basement always find a way to make their music sound warm and reassuring. I cannot wait for my copy to arrive because I'm eager to get that one signed at a show to complete my collection!
American Stories - Rostam
Has it really been ten years since Rostam Batmanglij left Vampire Weekend to pursue a solo career? Wow, that's crazy to think about. I haven't kept up with him much since then, the last album I listened to was Half-Light, which I had on heavy rotation back then.
I still can't quite get behind his vocal style, but his production is so distinctively his own and that brings a lot of merit to Rostam's solo work. The fusion of bluegrass and American-folk music with traditional Persian instruments was a nice touch, making fora warm and pleasant listening experience.
REDSTAR WU & THE WORLDWIDE SCOURGE - Genesis Owusu
I finally got around to this one and it's a solid 10/10 as expected. Genesis Owusu is currently at 3/3 for a solid discography so far and I can't help but feel like he is on the brink of an international breakout.
If you like experimental rap, funk, punk, jazz and biting social commentary in the vein of artists like Denzel Curry, then Genesis Owusu is absolutely for you. Don't even bother reading what I have to say, just press play on bandcamp right now. Get on that now!
The album was produced by Dann Hume of Evermore who brings his signature icy synths to the table (also, did I hear a juicy moog somewhere on this album?). Hume and Owusu recorded the album in an old converted church for maximum reverb, the results of which were extremely effective on Stampede, creating a loud and oppressive breakbeat track.
The vocal layering on LIFE KEEPS GOING is phenomenal, juxtaposing Owusu's breezy falsettos with an aggressive, punchy flow. Owusu's lyrics are insanely witty and reflective of major events that have defined the political landscape of the 2020s.
Falling Both Ways is one of my favourite songs on the album, delving into a dreamy 80s synth-pop soundscape with a punk-rock edge to it - an evergreen sound that could belong to none other than New Zealand's lesbian icon, Ladyhawke. Falling Both Ways sounds like My Delirium's younger sister - it's that good. This collaboration felt so extremely catered to me.
I could wax poetic all day about how much I loved this album, but I really think it's best you dive right into it. THE WORLDWIDE SCOURGE is easily a strong contender for best Aussie albums of the year, if not, a firm place in top 3.
Gensisu Owusu is constantly pushing the boundaries of every genre he touches. If I had it my way, he'd be the most talked about Australian artist right now. He's on tour right now, so if you have a chance, get yourself to one of his shows. The energy in his moshpits are on par with some of the best punk shows I've ever been to, and if you can, pick up one of his CDs for $5 whilst you're at it.
I hope the buzz around this album finally pushes Owusu towards more global recognition. If he lands a feature with a big artist, he'll be right as rain.
THE MONTHLY K-POP ROUND-UP
May seems to be a girl group month! No complaints there from me.
Greengreen - Cortis
...
Heavy Serenade - NMIXX
Heavy Serenade is easily going in the top five k-pop releases this year! NO SKIPS. I utterly adored Blue Valentine and I was wondering how they'd follow up such an incredible album, but in true NMIXX fashion, they delivered!
NMIXX are the best experimental k-pop group right now and one of my favourite girl groups in recent times. In so many ways, NMIXX truly feel like the spiritual successors to f(x) and early Red Velvet to me. They're constantly moving against the grain with a sound that is uniquely their own, and so far they have one of the strongest discographies in k-pop right now.
Crescendo is so weird and erratic, with switching tempos that swell only to change trajectory entirely. And yet, somehow, it works? I haven't felt this way about a song since f(x)'s Red Light and Rum Pum Pum Pum, so this is the highest praise I can give to any group.
I quite enjoyed Heavy Serenade too, even if the song wasn't the most groundbreaking and felt a bit safe but the chorus had me floating away with the vocals.
Different Girl is definitely for the yuri lovers, but that was before LOUD came in swinging at the end. Kudos to Lily for her revolutionary SOTY (sappho of the year) visions, because LOUD is 100/100 - also am I crazy, or am I hearing that notorious creaky bed sample in this song?
Favourites: Crescendo, Different Girl, Superior, LOUD.
the collective soul and unconscious: chapter two - Billlie
Aw man, I wish this grabbed my attention more. The maximalist production is fun. OFF-AIR and Domino ~ Butterfly Effect were the stand-out tracks to me though I definitely preferred billlie's previous releases more.
I'm not really one for remixes and was a bit disappointed to see they were included on this album. I would've preferred some experimental b-sides, or even unit songs or solos (if that's a thing Billlie does) instead. Nevertheless, I do like Billlie's vibe so far so I'll keep tuning in!
Motto - ITZY
This reminded me so much of iz*one that I almost felt like I hit my head and started crying and saw two goddesses appear in front of me (Yeji and Chaeryeong). It's fun and I loved it! This is a strong comeback for Itzy and I hope their next full-length album carries that momentum.
LOOP - I.O.I
I can't believe that I've lived long enough as a girl group stan to witness an I.O.I comeback?! I don't even care if you think this is simple 10th anniversary nostalgia bait...it worked on me. I genuinely didn't think we'd ever get something like this again, even if it wasn't the full line-up. 100/100, no skips, perfect, flawless, (louder than anyone else) Sohye and ChungHa hiiiiiiiiiii. I just want all my girl groups to thrive and have their fun little 80s synthpop comebacks once every blue moon.
PLAY BACK - Yuta
The full version of Yuta's Kamen Rider ZETZ op is finally out! What can I say? An absolute BANGER of a song. I love it when Yuta uses his gravelly knock-off HYDE vocals and then immediately starts whining on the verses with the audacity of a compulsive liar playing the victim. Does this make sense?
I promise I'll catch up on ZETZ so I can gain a better understanding of these lyrics. To be honest my Kamen Rider sleeper agent re-awakened at some point last year and has been following me everywhere and this Yuta bombshell is the start of my doom. All I can say is...watch out.
I cannot wait for YUTA to become hot commodity in Japanese media after this Kamen Rider sidequest. If he ever does a video game score like the love of his life HYDE did for Code Vein, I guess I'll have no choice but to fork out $80 on a game I'll probably suck at.
Fuck it, let's put Yuta in one of those crazy v-kei rockstar movies as HYDE's freaky younger counterpart. Someone please hire me or else I'll resort to writing a terrible film script. I don't even know how to write a movie script but where there's a will there's a way.
WYLD - Taeyong
[Father Neo just restored + 127,000 hit points to Neo City.]
I'll preface this by saying that I prefer it when Taeyong is growling like the chain-smoker at your local Irish pub whose chimney laughter cuts through the rowdiest crowds on St Paddy's Day. Taeyong is an acquired taste. Sometimes his tones, heavy vocal fry and unique pronunciation can be outright diabolical, and I say that lovingly, since NCT are pretty much my token boy group these days because Shinee are one of #thegorrrrrls to me.
But no matter how visceral my immediate reaction is, I'm not immune to the distinct flavour Taeyong brings to everything he does. He is the living and breathing embodiment of the neo concept, whatever the hell that might mean to you, and to put it in the words of NCT's Jamal: "we also were confused."
I knew the title track would be a banger as soon as it kicked off with Taeyong sampling his iconic line from Neo Got My Back. I definitely understand how the "lalala" can be extremely grating, but as an Aussie who grew up overexposed to Kylie Minogue's Can't Get You Outta My Head, hearing some "lalala" is as natural as watching the sun rise each day. I am extremely immune to it.
Storm absolutely raised the bar for me, though. Storm is like WYLD's weed smoking girlfriends, she's different, she's not like the other girls. Taeyong's chainsmoker voice (for lack of better phrasing, sorry) lends itself well to more aggressive flows. I actually think Storm could've gone a bit harder.
Skiii definitely made up for that though. If I could've picked another strong contender for a title track, Skiii would've been my pick. I don't know how Taeyong accurately captured the universally humbling experience of a Threadbo snowboarding trip where you eating powder only to see one of those tiny Milo kids zoom past you on their way to Winter Olympic Gold Medalist, but somehow, Taeyong managed it.
As I mentioned earlier, Taeyong is an acquired taste. Hypnotic was a grower for me, but it's now one of my favourite b-sides. It's weird, abrasive, jazzy drum 'n' bass that pulls you in opposite directions, and I couldn't imagine anyone else actually wanting to do a song like this.
I also wasn't expecting Taeyong to go all out on some token gay house music, but as the target demographic for gay house music, I'm all here for how I'm A Dancing Cactus. The ridiculous song title and lyrics really capture how silly and cute Taeyong actually is, despite his otherwise 'cool guy' appearance. Taeyong himself said this song was for people who can't dance, and that's exactly why it works for me. The best club tracks are the ones that make people lose their inhibitions and dance poorly.
Mermaid is extremely whimsical and cute, it reminds me of that golden era of romantic 2010s indie-pop with campy lyrics. 404 Euphoria, the latest installment in Taeyong's 404 chronology, explores the more introspective and emotional side of Taeyong's lyricism.
The only song I'm not too hot on is Run. Pop-rock is always a hit or miss for me (mostly a huge miss) and Run unfortunately leans too far into the Mickey Mouse realm for my liking.
Overall, WYLD is an extremely fun first album and a great introduction to Taeyong. The short album length doesn't bother me here so much because it felt concise, yet playfully maximalist and leaves me with a satisfied feeling at the end.
Where to from here? I'd honestly sell my soul for Taeyong to go all out on some Death Grips or Machine Girl levels of energy because I think he has it in him! I'd also love to see him dip into producing music for other soloists or groups. Based on the demos he has shared on Soundcloud and Youtube, there is a lot of room for professional growth - if he were actually allowed to learn and pursue his creative vision to the fullest outside of his industry.
I'll take a hit of copium and say it'd be really cool to see him in the producer credits for the upcoming 127 album. I'm not sure how much of that is truly possible for Taeyong (or any idol, really) but I sometimes view them the way I do certain MCU actors whose budding talents were stunted by spending over a decade churning out wet-concrete blockbusters.
I'm glad WYLD was released this month because NCTzens desperately needed the morality boost. Everyone go listen to I'm A Dancing Cactus and shake out some of that bad juju. I'll even toss in a free stimulus package:
'til next time!