In the two months since we have provided an update here, lots has transpired relative to new underground rock releases. Firstly, we do implore you to listen to the latest records from both High Vis (Guided Tour) and Drug Church (PRUDE), as both records are great documents of both bands further fleshing out their respective sonic characters with a strong crop of new material. While both of these records have occupied a portion of our interest level in new releases, the majority of our efforts have been focused towards following The Cure’s expansive rollout of Songs of a Lost World, the group’s first new studio LP in sixteen years. When we last checked in with you all, the band had only begun teasing portions of what went on to become the album’s lead single and opener (“Alone”). If we had known what this album would become/represent in the wider pantheon of The Cure’s legacy, it would have proven to be a tougher subject to cover.

Reality is, Songs of a Lost World represents the end of an era for The Cure, but not their career. Robert Smith has confirmed the group plans to play live extensively and potentially release another album before the band's ultimate demise in 2029, which will mark 50 years since the release of the band’s 1979 debut, Three Imaginary Boys. Knowing this all, Songs of a Lost World plays out not as a goodbye, but a cognitive realization of where Robert Smith finds himself decades into his band’s career. Lyrical themes of reflection, aging, and loss may seem like standard fanfare for The Cure, but Smith wholeheartedly embraces these themes on Songs of a Lost World with fantastic new material and perspective. We will not be diving deep into lyrical content ourselves, as Smith has openly discussed his lyrical intent via a nearly two-hour interview which we recommend viewing. Beyond the significance of being a new release, deep into a well-beloved catalog in the sphere of alternative music, how exactly does Songs of a Lost World fit into The Cure’s story?

Admittedly, we were a bit unsure what to expect upon first listen. While the band’s work throughout the 80s and early 90s speaks for itself (Imagine making sheer post-punk classics for the first third of your career, only to further evolve those sounds and concepts to produce Disintegration?! Neither can we), much debate and contention comes when discussing the band’s run of albums throughout the 2000s. Though 2000’s Bloodflowers has its share of supporters (hello!), 2004’s self-titled and 2008’s 4:13 Dream have often been critiqued for being victims of self-parody and half-baked material. While spending time debating the vitality of records produced some 20 years ago seems daunting (especially considering we have a new album to discuss), one thing that is uncontestable is The Cure’s miraculous ability to always deliver some of the best live shows around. Headed into Songs of a Lost World, we personally wanted a batch of songs that embraced and captured the connection Smith & bassist Simon Gallup have developed with the band’s modern incarnation (guitarist Reeves Gabrels in particular, making his first full studio album contribution with Songs of a Lost World).

Having listened to Songs of a Lost World many times in full, were The Cure able to both fulfill our desires as listeners and create a new body of work that is worthy of feature among their acclaimed back catalog? Yes. Unquestionably, yes.

Singles “Alone” and “A Fragile Thing” keyed us into the Disintegration-esque atmosphere that Songs of a Lost World has going for it. The waves of sound provided by “Alone” are authentically reminiscent of “Plainsong”, while the comparatively structured nature of “A Fragile Thing” comes across as a matured take on “Lovesong”. Comparisons aside, both singles are the sound of a band that has gelled into an indestructible/inseparable gang. Similar to The Cure at their arguable live peak (1993’s Show), the sixteen years that were spent playing live prior to Songs of a Lost World has enabled the modern incarnation of the band to play and write with the same level of confidence and nuance as decades prior. Truly incredible, this is!

“And Nothing Is Forever” sees the band reaching into their most cinematic capabilities, which has historically produced some of their most awe-inspiring moments (“One More Time”, “Sinking”, etc.). “And Nothing Is Forever” is worthy of existing amongst their best, via its gorgeous string arrangement and Smith’s impassioned vocal performance. Now 65 years old, Smith’s vocals on record sound as good as ever. Gone are the overtly angsty performances from 2004’s self-titled album… Smith truly sounds at home with this new material! Even when the album leans into heavier aspects of The Cure’s sound with “Warsong” and “Drone:Nodrone”, Smith flawlessly pivots his delivery to fit what these songs necessitate. “Drone:Nodrone” comes across similar to some of the more intense moments on Wish, much credited to the explosive leadwork of Reeves Gabrels. For his first album-length contribution to The Cure, Gabrels makes his contributions felt across the record in a welcoming way! “Warsong” is the closest you will get to a Pornography-era Cure song in 2024 without traveling back 40 years, which is miraculous considering how different of an entity The Cure is in 2024. 

“I Can Never Say Goodbye”, “All I Ever Am”, and sprawling closer “Endsong” are the most emotionally poignant and immediately consuming moments of Songs of a Lost World. Smith’s reflection on personal loss and modern-day existence are clearest on “I Can Never Say Goodbye” and “All I Ever Am”, while epic “Endsong” sees Smith riffing on the world in which he and his band exist in presently. While speculation of this LP being the band’s last loomed in the lead-up to its release, “Endsong” appeared to be the potential epitaph for the group. However, knowing the band plans to forge on for the next five years, “Endsong” is more of a defining statement from Smith on his attainable future as an artist and human being. While the world both he and The Cure exist in has significantly changed since their formidable years, there is still relevant work to be done and music to be made. 

If any evidence besides the quality of Songs of a Lost World is needed to justify The Cure’s modern existence, we implore you to watch the album’s release show from The Troxy in London. A note-perfect rendition of Songs of a Lost World in its entirety pairs perfectly with a near two-hours of beloved material from previous albums. While it may seem insane to call The Cure a “vital” group decades past their initial impact, we are happy to report this is indeed the case.

Songs of a Lost World is available everywhere now. Cherish it.

For their first time playing Hamden’s Space Ballroom, The Chameleons performance of Strange Times in full will be remembered for decades to come by all its attendees. 

If you’re a regular reader of Noise Is Power Music, you are likely aware that we are Chameleons devotees. Moreso, Strange Times devotees. When we learned the band would be playing the album in its entirety (with original guitarist Reg Smithies in tow), we were ecstatic. To see one of post-punk’s greatest groups in one of Connecticut’s best venues?! Count us in. 

Joined by darkwave duo A Cloud Of Ravens, their opening set harkened back to the primitive-yet-bombastic feel of early Sisters Of Mercy. Maybe a cliched comparison, but we feel it is a warranted one! Nonetheless, …Ravens did a fantastic job of setting the stage for what was to come a mere half hour later. Promptly taking the stage, Mark Burgess and co. wasted little time working their way through the group’s 1986 masterwork, Strange Times.

Elongated instrumental sections of “Caution”, “Tears”, and “Soul In Isolation” made for true performance highlights. Burgess notably interpolated songs from The Doors, Buffalo Springfield, and The Beatles into the middle of “Soul In Isolation”, which was rather genius and felt like a seamless integration. The anthemic “Swamp Thing” was played to perfection, as Reg Smithies teased the crowd with its now-iconic opening riff to whispers of adoration from the packed Space Ballroom crowd. I would rather shy away from using the phrase “cinematic” here, but that is truly how their performance of “Swamp Thing” felt. Needless to say, we (the crowd) were more than privileged when we realized there was still half of Strange Times to be performed. 

Taking a brief pause to express the importance of fleeting moments and time to the crowd, Burgess guided the band through a wonderful rendition of “Time (The End Of Time)”, which bled perfectly into the trifecta of “Seriocity”, “In Answer”, and “Childhood”. By the time the spacey atmosphere of “I’ll Remember” concluded the band’s performance of Strange Times, we were simply at a loss. How would the show continue and not feel like a comedown after that?!

“Ever After”.  

Recorded during the Strange Times sessions, The Chameleons dusted off this rarity and paired it alongside their latest (and great) new single, “Where Are You”. This concluded the main part of the set, before the band returned for a crowd-pleasing encore. As much as we personally love Strange Times, many audience members were patiently awaiting cuts from the band’s debut, Script Of The Bridge. Not to spoil, but the encore provided that in spades.

An institution in songwriting, the poignant “Second Skin” and rousing “Don’t Fall” marked the end of The Chameleons’ CT debut. We were fortunate enough to wish Mark Burgess well on the rest of their tour as we departed the gig (as CT was only their second date), impatiently waiting for the band’s return.

Future The Chameleons tour dates can be found here.
Get to these shows by any means necessary.

It is truly hard to believe that this is our first site update since June, but we are back!

Sincerely, a massive thank you is owed to all of our readers that have continued to patron our webpage and peruse our new webstore that remains full of great secondhand vinyl & CDs. We are are planning to have some fresh titles stocked over there soon, so we urge you to keep your eyes peeled for more developments there. Taking an elongated break from publishing new content here, Carl has been diligently working to bring some SCRT AGNT live shows your way! The band is hoping to have a busy late-summer/fall, which you can keep up with on their social media pages if you have yet to explore them. Between getting  new inventory prepared and working on SCRT AGNT material, we have had the pleasure of enjoying a nice cross-section of both new and classic records within that time. By no means a comprehensive list, but an overview of the records that have filled our ears for the last month are below (In no particular order):

Figure 8 - Elliot Smith
Boy - U2
Kaleidoscope - Siouxsie and the Banshees
Nowhere - Ride
Just Can't Stop It - The English Beat
Strange Times - The Chameleons (more on this below!)
United By Fate - Rival Schools
The Smiths - The Smiths
Bandwagonesque - Teenage Fanclub
The Pink Opaque - Cocteau Twins
The Sky's Gone Out - Bauhaus
Walk Through Me - The Folk Implosion (thanks Lou Barlow for resurrecting this band!)
Mezcal Head - Swervedriver
Songs From The Big Chair - Tears For Fears
With Sympathy - Ministry
Today - Galaxie 500
Forever Breathes the Lonely Word - Felt
Jeopardy - The Sound
Le Tigre - Le Tigre
Seemless - Into Another
Glider - My Bloody Valentine
Manic Compression - Quicksand
As It Ever Was, So It Will Be Again - The Decemberists
London 0 Hull 4 - The Housemartins

If you find yourself local and looking to see some quality live shows this summer, we can urge you to not miss The Chameleons upcoming date at Hamden's Space Ballroom! The band will be performing their seminal Strange Times LP in its entirety, which has the makings for being one of the most memorable CT shows of the year.

Other notable, recently announced dates at The Space Ballroom:
The Messthetics (ex-Fugazi) - August 6
The Smiths Tribute NYC - September 6
Rival Schools - October 20

Full calendar and ticket details are available here!

Finally, if you find yourself looking to check out what's going on in CT's independent music scene this summer, you  can thank Underground Experience for putting this two-day festival in August together! More details on all of this are available here, but there is undoubtedly something for everyone across both bills. 

Between hopefully attending some of the above shows, playing with SCRT AGNT, and curating some new offerings for our webstore, the summer is shaping up to be a busy time for Carl. Considering there is no shortage of great music to take in and shows to attend this summer, he truly would not have it any different. 

Until next time! Thanks for reading.

A week removed from releasing our first in-depth video interview, we remain grateful for the opportunity to have spoken to Steve! If you have yet to check out our interview with him, devoting time to hear his truly incredible story should be of priority.

In other news, our Big Cartel storefront is still fully stocked and the perfect solution for anyone looking to expand their physical music collection! If you have yet to pursue our selection there, here is your reminder!

Aside from this all, Carl has been keeping busy, having recently played SCRT AGNT’s first show. If you were unable to attend, video of their full set is available below:

Hearing Depeche Mode adopt a guitar-heavy focus to their sound may seem unorthodox in hindsight, but begins to make sense considering the context it was released within (the commercial boom of guitar rock circa 1993). That said, it only adds a dense layer to vivid instrumentation that Depeche Mode would perfect on its predecessor, Violator. Tunes like “Walking In My Shoes” and “Rush” come to mind as examples of positive development in DM’s sound, though cinematic ballad “Judas” and “One Caress” play out as then-updated takes on previously treaded territory. Nonetheless, Songs of Faith and Devotion has been a mainstay in our daily listening since procuring a secondhand copy. You can make the argument that Violator is the band’s essential record (We would likely agree), but that does not discount the fantastic album that came afterwards!

Mind Bomb is the definition of a record that has an all-star cast of musicians at the core of its creation. Legendary songwriter Matt Johnson was accompanied by both Johnny Marr and Sinéad O'Connor for Mind Bomb, which culminated in the essential “Kingdom of Rain” duet between O’Connor and Johnson. Our first exposure to Mind Bomb came from recently purchasing the 12” of “The Beat(en) Generation” (Solely due to Marr’s involvement), which led us to discovering the rest of this brilliant album! Only two years removed from The Smiths’ dissolution, Marr’s playing on Mind Bomb is oftentimes textural and the perfect accompaniment to Johnson’s brand of intellectual pop. This lineup of The The walked the fine line of groove and ambience with “The Violence Of Truth” and “Gravitate To Me”, but the pocket symphony style of album highlight “August & September” has also been keeping us hooked. For a record full of expert musicianship, Mind Bomb has surely flown under the radar of modern reappraisal. Give it a listen with us!

The passing of Steve Albini has left an indelible mark and irreplaceable absence in the pantheon of alternative music. Suffering a heart attack at the age of 61, Albini’s passing has been met with an outpouring of tributes, from past collaborators and admirers alike. Rather than mourning the loss of a true recording legend, it is important to remember how Albini’s art continues to inspire and be heard decades onwards. Equally important is how Albini upheld his own standards of execution and high technical proficiency until the untimely end of his career. For us, Albini represents the golden combination of sheer talent and undying ambition. Thanks to that combination, the world was graced with some of its most legendary recordings.

Not dissimilar from many, we got to know of Albini’s work through Nirvana’s final album, 1993’s In Utero. Certainly a departure from Butch Vig’s tightly packaged Nevermind production, Albini fulfilled Kurt Cobain’s wish to have a raw and live presence for the following record. Listening to In Utero for the first time many years ago, we took note of the now-iconic drum sound that many bands have chased after since its release. Albini’s famous “room drum sound” really shone through on Pixies Surfer Rosa LP first (Listen to opening track, “Bone Machine”... Still sounds huge!), but his mark on In Utero hipped many (including us) to the wide array of his musical contributions. From there, we began to take in much of Albini’s own music.

Having been exposed to Albini through In Utero, we were ill-prepared for the noise onslaught of Big Black’s catalog. While In Utero certainly leans into some noisier territory, it never reaches the provocative nature of Big Black’s discography. It may be difficult to define exactly what about records like Atomizer and Songs About Fucking make them work, but they truly stand out as their own thing decades later. That said, the real genius of Albini comes after the realization of the diverse body of talent he worked with. Albini was more than capable of making records that pushed sonic limits, but he also was capable of making records that simply wowed upon initial playback. 

With credits on records by Low, Jawbreaker, Cloud Nothings, and Black Midi, Albini truly never slowed down. Though many recording engineers would have been satisfied with the adulation that comes from working on a record like In Utero, Albini stayed active/on the move until the very end. Serving as the owner and engineer at Chicago’s Electrical Audio studios, Albini made himself accessible to up-and-coming/working class bands (regardless of his “legend” status). Summarizing all of Albini’s accomplishments/legacy is impossible to truly do, but his commitment to the event of documenting the creation of music (for the sole reason of art) will never be forgotten.

Thank you, Steve Albini. The world is much more interesting due to your work!

Take a look at the records featured above. While each of them are undeniable classics in their own right, we recently found a shared history between all four of them! Pixies, Bob Mould, Quicksand, and Local H may have crafted wildly different batches of tunes with these records, but the work of producer and engineer Steve Haigler is at the center of each of them.

When it comes to the story of alternative music, polarizing record producers and tales of unorthodox recording methods have become things of folklore. The story of Butch Vig's journey from indie producer to Nevermind superstar has become integral to Nirvana's story, similar to how Steve Albini's (Who recently passed away... We are still collecting our thoughts will have a more fitting tribute ready soon) love for great drum sounds would shape Pixies' Surfer Rosa LP. That said, there remain many gifted producers and engineers from this era that deserve recognition for permanently altering the sound of alternative rock... Steve Haigler certainly played a part in this story.

Haigler's earliest engineering credits date back to the late 70s, ranging from vocal groups to singer-songwriter acts. By the mid-to-late 80s, Haigler had begun working on various projects of the alternative and underground variety. Much of his early engineer work would be for seminal 4AD groups, including both Throwing Muses and Pixies. While producer Gil Norton receives much of the attention for the sound of Doolittle, Bossanova, and Trompe le Monde, having Haigler as an engineer was needed to facilitate the technical end of those recording sessions. As longtime Pixies devotees, one thing that has stuck with us from those albums are the guitar tones of Joey Santiago and Black Francis. Though their tones are heavily distorted and oftentimes cacophonous, there is always enough clarity to ensure that the melodicism of their playing comes through. We can only hypothesize that Haigler took note of this, as his own production work would perfect this articulate-yet-heavy tonal character.

Long before we launched Noise Is Power Music, As Good As Dead (Chicago two-piece Local H's sophomore record) served as a seminal record during our formidable years. Memorable singles "Eddie Vedder" and "Bound For The Floor" paired nicely with album cuts "Nothing Special" and "Lovey Dovey", making for a memorable listen many times over. Even back then, we recognized something particularly special about how Scott Lucas' guitar was dialed in on that record. While his playing certainly came across as "heavy", the most melodic elements of his songwriter were easily discernable/never compromised on As Good As Dead. Safe to say, the sound of that record made an impression on us. When we found ourselves introduced to the post-hardcore stylings of Quicksand, we could not help but hear something similar.

Though we initial identified the compositional aspects of Quicksand and Local H to be similar (In retrospect, we do not uphold this opinion), it turns out that Haigler produced both As Good As Dead and Quicksand's classic debut album, 1993's ​Slip.

Those simultaneously heavy-yet-melodic tones on both Slip and As Good As Dead are a "brand" of guitar tone that have become synonymous with alternative rock by now. Between the two records, we also hear kinship between the kick and snare presence on both. While this connection may be common knowledge to some, we find it fascinating that Haigler was the main producer on two hugely influential and important records (on top of engineering Pixies finest work)!

If you are unfamiliar with any of the records Haigler has worked on, do yourself a favor and dive in! More of his credits can be found here.

Throughout the 1990s, Beth Gibbons established herself as one of the more impassioned and soulful vocalists of the decade. Leaving the sample-heavy character of her work with Portishead behind, Lives Outgrown is a refreshing collection of tracks that see Gibbons reflecting on years past with naturalistic overtones.

Most fans of classic alternative music would be remiss to not own a copy of Portishead’s opus, Dummy. For many, Dummy is the archetypal trip hop LP. The unique combination of Adrian Utley’s blues inspired guitarwork (“Glory Box” is a legendary performance), evocative sample curation, and Beth Gibbons’ fragile delivery made their debut LP a thing of legend and mythos. Releasing two more albums before dissolving in the late 2010s, rumors/demand for a solo album from Gibbons became prevalent. Now, sixteen years removed from the last Portishead release, Lives Outgrown introduces both new instrumental palettes and lyrical themes to Gibbons iconic vocal style. While the material on Lives Outgrown is mainly acoustic-based, it perfectly suits the intimate and honest nature of the lyrical narratives of these songs.

Throughout Lives Outgrown, Gibbons openly reflects on aging and mortality in a very eloquent fashion. Album opener “Tell Me Who You Are Today”hints at these themes, which lets both “Floating On A Moment” and “Burden Of Life” serve as the first indications of the album’s main themes. “The burden of life just won't leave us alone / And the time's never right when we're trading the soul” serves as an inquisition to simply why life can take unpleasant turns, which Gibbons delivers in an entrancing way. Though the Portishead sound was certainly a combined effort amongst the group’s three members, Gibbons has managed to retain a similar sense of yearning and emotion with her vocal performances. 

“Rewind” may be the closest Lives Outgrown comes to delivering a Portishead-esque tune, but the tribal drum pattern that drives the instrumental suggests otherwise. The song’s refrain sees Gibbons declaring that we (Gibbons and the listener as a collective) have “Gone too far to rewind”, which is never specified as either a good or bad thing. What makes Lives Outgrown such an interesting listen is the way Gibbons tackles themes of mortality. On tracks like “Rewind” and “For Sale”, these themes are written about in a way that leaves it up to the listener to interpret. Walking a fine line between directness and ambiguity can prove to be difficult, but Gibbons figured out a way to make it happen. For that fact alone, Lives Outgrown should be one of your next listens.

Much credit is also owed to producer James Ford, commonly recognized for his work with Arctic Monkeys and later-era Depeche Mode. The folk-leaning instrumentals of Lives Outgrown are sparse enough to let Gibbons' lyrics make their mark, but the low end weight of these tracks are never compromised as a result. As a longtime fan of Beth Gibbons, Lives Outgrown certainly feels like the record she should have made at this stage in her career. There is no clear attempt to revisit the past, but the new musical aesthetics introduced on the album do hint at/highlight elements that made records like Dummy fantastic. To summarize, Lives Outgrown was definitely worth the wait!

Have you heard this record? If not, go listen and tell us what you think! If you have listened, comment your thoughts below!

It's official: The Noise Is Power staff has graduated from college! During quite a busy/exciting time, we have been itching to get back to our normal posting schedule. We aim to do so this week, but there are some updates that are in order:
​
Firstly, you may find yourself asking "Where was the final episode of Out Of Circulation that was supposed to air April 9th?!". To be honest, Isaiah and I found ourselves in the middle of a record crawl at Elm City Sounds during our broadcast slot... It was simply too good to get out of! That said, you can stream/review our selections that were prepared for that episode here! In terms of OOC's future, we are hoping to continue it as a longform podcast, but we are still getting things in place. Thanks and gratitude is owed to everyone at WNHU for giving our show a home, but we both are excited for the future of OOC. Otherwise, we both have been keeping busy with the debut of the first SCRT AGNT single release:

SCRT AGNT is the shoegaze band that Isaiah and I are members of! We just recently released our first single, "Don't Leave / Nancy". If you want to say hello, come catch the band's first show at Hamden's Best Video on June 8th. Tickets are available here!

As for getting back to business here, you can expect our review of the much anticipated solo LP from Beth Gibbons, Lives Outgrown, this Wednesday! If you have made it this far, use discount code "REWIND" over on our webstore this week to receive 20% off anything!

That's all for now! Catch you Wednesday with that review.