An album that's hard to pin down to one genre as it jumps from post-punk, pop-punk, riot girl, candy pop, to even country western sounds at times. Let Me Do One More is the second record from indie producer and singer-songwriter Sarah Tudzin.

Witty, cathartic, chaotic, colorful, and utterly fun. Not only embracing the sounds of their Heartland archetypes but taking from 80's and 90's arena professionals like U2, Genesis, even with moments of Def Leppard, within their choruses on the title track 'I Don't Live Here Anymore.' With this record, The War On Drugs has comfortably sat alongside bands like Tame Impala as future festival headliners and the continuation of rock music.ĥ. They instead sound ready to perform in arenas around the world. But, on I Don't Live Here Anymore, the now fully formed band no longer sounds like a Granduciel studio band. Turn on the last three records of The War On Drugs, and you will find a mix of classic rock and indie reference points everywhere. For a little over a decade now, singer-songwriter Adam Granduciel has slowly perfected his craft of resurging the sound of Bob Dylan, Tom Petty, Warren Zevon, and of course Bruce Springsteen while still building off of what they created. For better or worse, artists now have to truly find a way to continue the sound of Classic Rock without sounding like a cheap knockoff or just revisiting old territory. If you were brainwashed into Classic Rock at an early age like I was, you know that is a bygone era in many ways. Maybe my favorite artist currently making music is The War On Drugs. The War On Drugs - I Don't Live Here Anymore Walker has genuinely given a face to a sub-genre that he coined by giving in to his most indulgent and personal influences.Ĥ. This is by far Walker's most accessible and focused work. The album comes after his recent sobriety and moving out of New York City to the peaceful setting of Vermont. Heavily influenced by the Peter Gabriel years of Genesis, Walker creates this prog, jam-infused singer-songwriter journey. With Course In Fable, Walker could combine all of his past work and truly find a direction in his sound and hopefully for years to come. This year Ryley Walker dubbed himself the king of that sound. It is essentially a growing branch of Dad Rock without getting too off track. However, their music palette had 'matured' to artists like Radiohead or took a deep dive into all forms of jazz, mainly focusing on Miles Davis' late 60's experimental phase. Secretly, or in my case not so secretly, they are still very much into those artists and their jam contemporaries. They, at one point, were deeply into bands like The Grateful Dead, Dave Matthews Band, and Phish. Someone who is 'Post Wook' is at its base a fan of guitar-driven instrumental music. This band is one to watch for as they only continue to get better on each album.īefore his twelfth studio project, Ryley Walker coined the term 'Post Wook.' A term that I felt to be very revealing of my own personal aesthetic. Drawing from influences like Taylor Swift and Coldplay allowed their beautiful landscape-driven heartland sound to flourish. Wild Pink indeed finds themselves on this record, allowing their more arena-rock impulses to take over. However, what songwriter John Ross brings to the band's third and most spectacular album, A Billion Little Lights, is that incredible pop hook that made their predecessors successful in the '80s and '90s. The Brooklyn-based heartland rock act Wild Pink has bands like The War On Drugs to thank for the resurgence in the sound of Tom Petty and Bruce Springsteen. From their single 'Holiday,' used in Tik Toks, to impressing many on Late Night Seth Myers, Turnstile could prove loud, aggressive mainstream rock is far from dead. Not to over-sell this album because it's not Nevermind, but it is Glow On, an album that sticks out amongst an otherwise reasonably average year in music. Although their past records have been more aligned with today's hardcore sound, this record made many believe a sound as jarring as Nirvana's Nevermind could make it back into the mainstream. Heavy in its delivery, but just under that surface is a fantastic showcase of funk, groove, nods to 80's thrash metal, pop hooks, and overall a fun return to heavy rock. Baltimore hardcore band Turnstile, hands-down, has made an album that will be remembered as one of the quintessential sounds of 2021.

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