Auckland’s Beths might be the 4,000th indie rock band from ever-fecund New Zealand — let alone the entire globe. But others don’t have Elizabeth Stokes. Not to slight her bandmates on Future Me Hates Me; they’re bubbly-effervescent and post-punky-barbed excited-sounding, too. But to confront “You Wouldn’t Like Me,” “Not Running,” or the title track is to be like a trained guard dog that rolls over and seeks belly rubs instead of barking. Stokes is ridiculously infectious and disarming, making this least-ephemeral kind of guitar pop ear candy. Future us will still love her.— Jack Rabid
It seems reports of rock and roll’s death have been greatly exaggerated. On Young & Dangerous, the Struts’ Butch Walker–produced sophomore banger, Luke Spiller (the band’s spectacularly Zandra Rhodes–caped frontman, who could have easily played the lead in Bohemian Rhapsody if Rami Malek hadn’t been available) and his fellow British glam-rockers vamp and amp their way through the disco-rock euphoria of “Who Am I?” (think the Stones’ “Miss You” or Rod the Mod’s “Do Ya Think I’m Sexy?”), the Crowes-y cowbell jam “Primadonna Like Me,” the hard-charging football terrace chant “Bulletproof Baby,” and the Victoria’s Secret Fashion Show themes “Body Talks” and “In Love With a Camera” with unbridled Jagger swagger. Dave Grohl, authority on all things rawk, declared the Struts the best opening act to ever tour with the Foo Fighters, but expect them to be headlining stadiums on their own in 2019.
— Lyndsey Parker
Lady Gaga & Bradley Cooper, “Shallow”: OK, the two best films of the year were First Reformed and Shoplifters, but the most thrilling moment on the screen was unquestionably when Gaga summons her inner rock goddess with “huuuh, uhhh, ahhhh ah wah haaa ahhhhhhhhh.” I mean, the film could have fallen off the cliff from there and I would have been happy.
— Ken Capobianco
Paul McCartney, Egypt Station: His best since Chaos and Creation in the Backyard, and a nice bit of political commentary on “Despite Repeated Warnings.”
— Gillian Gaar
Mighty Mighty Bosstones: Following a seven-year recording absence, the veteran Boston ska-rock group came back strong with the socially conscious While We’re At It, where the still-gravelly-voiced Dicky Barrett penned lyrics with vivid imagery.
— George A. Paul
Andrew W.K., “Music Is Worth Living For”
— Ian Mathers
Apparently Love Is Dead is Chvrches “selling out,” even though they were already a pretty poppy band to begin with. This is music designed to boom in the big venues Chvrches have rightly earned, and it, as they say, slaps.
— Brice Ezell
Though Will Toledo technically debuted Car Seat Headrest’s “Bodys” sometime in the late 2000s on Bandcamp, it got its chance to shine this year on the reworked Twin Fantasy. Tumbling synths, pristine drum machine loops, and an impending sense of complicated youthful bliss make this song one of my favorites of 2018. Toledo connects the fragility of young love to the delicacy of the human body, the vessels that allow us to experience life fully.
— Ellen Johnson
Amen Dunes, “Miki Dora”: I don’t listen to music to learn stuff — not stuff that can be put into words, anyway. But reading up on this song’s eponymous subject was fascinating: a guy from the Fifties who helped popularize surfing (he’s in every one of those Frankie Avalon–Annette Funicello movies) but who supposedly hated the commercialization of what he’d helped usher in, and who conveyed his disgust by acting out in various ways — swastikas, crucifixion imagery, crime, exile. I’m old enough to remember when there’d be an occasional surfing segment on Wide World of Sports; also, Laura Blears Ching in Playboy…I digress. I came across this one interesting quote from the president of the Hang-Ten Chapter of Malibu Surfers just after Dora’s swastika incident: “You had a surfer on one side that was bad, and you had a group of surfers on the other side that was also very violent. Nobody wants to say it, but I will say it right now.” I like the sound of “Miki Dora” fine — it starts off like a dreamy, singer-songwriter version of “Come as You Are” — but it’s primarily the story that draws me in.
— Phil Dellio
Making her own mythologies, reassembling our monuments. Neko Case is forever.
— Ann Powers
Greta Van Fleet emerged from the wide-scale savaging of social media haters loud and proud.
— Bud Scoppa
Is Parquet Courts’ “Total Football” about Colin Kaepernick? I refuse to look it up and spoil the meaning of this song for myself. Anyone who says football isn’t political is an idiot. It’s very political because it’s very capitalistic, and Parquet Courts actually understand that.… Wide Awaaaaaake! is a very relevant political evolution for PQ, with signature catchy tunes about everything from feeding cats to global warming to why Tom Brady sucks.
— Troy Farah
Parquet Courts, Wide Awaaaaaake! Even Patriots fans dig the “fuck Tom Brady” coda of “Total Football.”
— Michael Fournier
On Wide Awaaaaaake!, Parquet Courts, the last (?) of the great downtown New York art-guitar bands, get woke, attacking everything from violence and global warming deniers to Patriot QB Tom Brady in the most remarkable cultural shift since the Beasties’.
— Roy Trakin
This article from the Village Voice Archive was posted on February 13, 2019