Nothing's About To Happen To Me. Mitski

Mitski lijkt op ieder nieuw album alleen maar beter te worden en dat is ook weer het geval op het in februari verschenen Nothing's About To Happen To Me, dat deels bekend, maar toch ook weer anders klinkt.

Mitski eindigt met haar albums steeds net wat hoger in mijn jaarlijstjes en die lijn kan ze wel eens door gaan trekken met haar nieuwe album. The Land Is Inhospitable And So Are We haalde in 2023 de top 10 van mijn jaarlijstje, maar het deze week verschenen Nothing's About To Happen To Me vind ik nog wat beter. De zang is echt prachtig, de muziek verschiet keer op keer fraai van kleur en de songs zijn reuze spannend. Het klinkt onmiskenbaar als Mitski, maar de muzikante uit New York verlegt ook dit keer haar grenzen met een combinatie van sfeervolle country, rijk georkestreerde pop en een vleugje indierock. En Nothing's About To Happen To Me wordt voorlopig alleen maar beter. 

De eerste drie albums van Mitski (Miyawaki) trokken nog niet heel veel aandacht en ontsnapten ook aan mijn aandacht, maar sinds Puberty 2 uit 2016 bouwt de muzikante met Amerikaanse en Japanse wortels succesvol aan een indrukwekkend oeuvre. Puberty 2 vond ik goed genoeg voor mijn jaarlijstje en ook Be The Cowboy (2018), Laurel Hell (2022) en The Land Is Inhospitable And So Are We (2023) schaarde ik onder de beste albums van de betreffende jaren. 

Het zijn albums waarop de muzikante uit New York steeds weer een andere kant van zichzelf laat horen en net zo makkelijk indruk maakt met Amerikaanse rootsmuziek of toegankelijke pop als met stekelige indierock of synthpop. In het voorjaar van 2024 zag ik Mitski in Carré en liet ze horen en zien dat ze ook op het podium een fascinerende muzikante is. 

Alle reden dus om met hele hoge verwachtingen uit te kijken naar haar achtste album. Nothing's About To Happen To Me gaat in de eerste track verder waar The Land Is Inhospitable And So Are We in de herfst van 2023 ophield. Het is een track die wordt gedragen door invloeden uit de countrymuziek en die opvalt door zeer sfeervolle pedal steel klanken en door de mooie stem van Mitski. 

Aan het einde van de track worden de ingetogen klanken vervangen door rijke orkestraties en weet je weer dat de muziek van Mitski net zo vaak van kleur kan verschieten als een hyperactieve kameleon. Dat blijkt direct weer als ze in de tweede track opschuift richting in de indierock waarmee ze ooit doorbrak, maar ook deze track eindigt met bombastische klanken. 

Ik vind Nothing's About To Happen To Me op zijn mooist wanneer Mitski ingetogen zingt en zich omringt met sfeervolle klanken een vleugje country, zoals in de derde track en in veel tracks die volgen. Haar stem klonk wat mij betreft nog niet eerder zo mooi als op haar nieuwe album, maar ook in muzikaal opzicht is Nothing's About To Happen To Me van Mitski een prachtig album. 

Het is knap hoe de muzikante uit New York haar geluid steeds verder verfijnt, want nog niet eerder klonk een album van Mitski zo mooi en zo veelzijdig. Het is prachtig hoe het album steeds weer schakelt tussen door Amerikaanse rootsmuziek beïnvloede klanken, fraaie orkestraties en opeens aanzwellende gitaren en bij Mitski klinkt het altijd logisch en functioneel. 

De band waarmee ze inmiddels een aantal jaren tourt tekent voor de muziek op het nieuwe album, terwijl Drew Erickson, met wie Mitski al eerder werkte, de orkestraties voor zijn rekening nam. Ook voor de productie kiest de Amerikaans-Japanse muzikante voor de inmiddels bekende weg, want ook Nothing's About To Happen To Me werd weer geproduceerd door Patrick Hyland. 

Het vertrouwen op vaste waarden zorgt er voor dat de muziek van Mitski op het nieuwe album vertrouwd en ontspannen klinkt, maar ik hoor ook dit keer groei in de muziek, de zang, de songs en de fantasierijke teksten. Nothing's About To Happen To Me is een album dat de ruimte elf songs lang op aangename wijze verwarmt, maar het is ook een album waarop veel valt te ontdekken. 

Ik begon met hoge verwachtingen aan het nieuwe album van Mitski, maar deze werden direct meer dan waar gemaakt. Ik ken de muziek van Mitski inmiddels een jaar of tien, maar ik was nog niet eerder zo onder de indruk van haar muziek als bij beluistering van het geïnspireerd klinkende Nothing's About To Happen To Me en dat is een indrukwekkende prestatie.

Erwin Zijleman

 

Je kunt Nothing's About To Happen To Me hier luisteren en bestellen:

https://mitski.bandcamp.com/album/nothings-about-to-happen-to-me 

2025, week 19. 10 singles

After two weeks of a well-deserved holiday on the beautiful island of Sicily, in full bloom, with the heady scent of orange blossom as the most apparent manifestation of that bloom, WoNoBlog returns with its overview of 10 recent singles and EPS. You'll find totally new names, recent, older and two very old names in this list, including the contender for the oldest band in the world. I'm sure you can guess which one. Anyway, we're back, so it's time for you to explore some new music, enjoy!

Easter Lily EP. U2

Only a few weeks after U2's previous surprise EP there already is another one, Easter Lily. And I have to say, I like it. I don't think I've ever heard the Dublin band, now active for well over 40 years play so relaxed and down to earth. There's is no effect that makes the sound bigger than needs be. Of course, at heart there's Bono's voice and The Edge's guitar that are recognisable out of thousands. What the band avoids, is the stadium grandstanding, where it often hid behind. Easter Lily contains songs that, for U2, are simply naked. Opening song 'Song For Hal', may contain several guitar overdubs, it is a song, that somehow gives me the idea that it could have been sung by Frank Sinatra. It has that kind of quality. What Easter Lily shows, is that U2 is able to avoid being U2 too much. In a way it is like The Rollin Stones' blues album from 2016, 'Blue & Lonesome', but filled with original U2 songs. This EP shows that U2 can write interesting songs without the endless effects. It is a U2 I like far better I notice. Of course, the band has scored huge hits and they are fantastic, but still I got bored with them, even at a live show in 2005. With Easter Lily U2 keeps me attentive and appreciative for six songs. It may well be be a record.

Gold Things. Office Dog

Office Dog from New Zealand is on route to the release of its first album after releasing its EP 'Doggerland' in 2024. 'Prime Corner' will be released at the start of New Zealand's winter and our summer. With Gold Things the band makes a statement with a song that has some ragged edges. Gold Things is not a song that will please the masses but may make fans of alternative rock with a dirty edge quite content. Here's a first one for starters. Kane Strang sings in part with a deeper register, which restrains his range. As soon as he lets his voice go, the song is kicked in the proverbial butt and starts to bloom because of that kick. Just listen to that instrumental part as well. The trio really makes the most of Gold Things.

If You Change. Widowspeak

The last three Widowspeak albums have all found their way to this blog and listening to If You Change, the band's recent single, it will not come as a surprise when around 5 June new album 'Roses' will receive a warm welcome here. For me, Widowspeak entered my life actively with its 2020 album 'Plum'. 2018's 'Expect The Best' was reviewed by Erwin Zijleman. If You Change is a relaxed kind of song, with a The Byrds/Roger McGuinn/Gene Clark vibe around it that makes it almost anachronistic in 2026. Next to this Rickenbacker sound comes the dreamy quality of singer Molly Hamilton's voice. I'm certain Erwin will come up with the Mazzy Star comparison, as he often does, but that is a band I've missed at the time. If You Change is beauty caught in music but beware, like in the fairy tale of Sleeping Beauty, in Dutch 'Doornroosje', there are a few thorns involved in the music.

Rough And Twisted. The Rolling Stones

For some weeks it was clear that something was up. No Hackney Diamond adds this time but something with The Cockroaches. All speculation can be tossed by the wayside, the band has announced its 25th studio album in 64 years (!). It's called 'Foreign Tongues' and will be released on 10 July. Although it looks like its touring days are over, in the studio The Stones can sound as dirty as ever. With this bluesy track the ball is opened and it is dirty, greasy and rocks like there is no end of the line even at 80+. Riffs fly and Ronnie Wood plays a very mean slide guitar. Jagger seems not to age where his voice is concerned. Compared to all his contemporaries he's simply amazing. There's no ware and tear there in any way. Producer Andrew Watt again makes the band sound so urgent, so direct, so in your face. Just like 'Angry' in 2023, Rough And Twisted is a great introduction to what is to come in 2026.

Is This All There Is? EP Anna Calvi

Anna Calvi returns to the blog with a new four song EP. The single 'God's Lonely Man' was already reviewed a while back. Iggy Pop sings with Calvi and more or less takes the lead, with Calvi vocally circling around him like a dervish. The song has a deep and dark organic beat, that fits Iggy really well. Like I wrote then, the song could have been on 'The Idiot' and 'Lust For Life'. It makes for an ideal opening song for Is This All There Is? 'I See A Darkness', a cover of the Bonnie 'Prince' Billy' song, is an extremely dark song in a duet with Perfume Genius. In that darkness Calvi manages to create some great musical moments that sound like a volcano erupting over which Perfume Genius hovers while Calvi at times sounds like a ship's horn in the fog. 'Computer Love' is a collaboration with Laurie Anderson, that in part sounds just like I would expect a Lauri Anderson track to sound, just somewhat less electronic. The way the song moves towards its end, sounds almost like opera, bringing the digital and human together. I may actually start to like the track. The final song is a collaboration with The National's Matt Berninger. Berninger grumbles himself through the title song in a very natural way. The contrast with Anna Calvi is just nice, not unlike Phoebe Bridger's contributions to The National's last two albums. The two make 'Is This All There Is?' come totally alive. I understand this is the first of three EPs, so lay it on me, please.

Screams. Blood Red Shoes

When did Blood Red Shoes enter my life?, I mused while listening to Screams for the first time. It may well be 18 to 20 years ago. Time flies when you're having fun and the fun continues. Just like U2 at the top of this singles post, Blood Red Shoes goes back to the bare essence of being a duo band. Gone are the electronics and extra hands found on the previous two records. Screams is a good old honest song but with a load of quality. Steven Ansell may be drumming in the video like a clown would in the circus making it seem like we all cold do his part. In the meantime the drum part is extremely effective, while Screams has a great melody making it a joy to listen to. The harmonies Laura Mary Carter sings are spot on, just like her elementary sounding guitar part and solo is. So, no excitement, all quality. And en passant, my question whether Ms Carter's solo album brought the end to Blood Red Shoes was answered in the way I hoped. Screams!

G.O.D. And The Broken Ribs. Jack White

Jack White and I go back even further than the previous entry. That came with the 'Fell In Love With A Girl' song by The White Stripes. Of course 2002 does not match U2, let alone The Rolling Stones. I have to admit that I sort of skipped all White has released after the rather disappointing 'Blunderbuss' album. I never play the older stuff any more, so perhaps it's best to leave things be. Then I read about two new songs being released simultaneously and decided to try one anyway. G.O.D. And The Broken Ribs was the song of choice. It sounds instantly recognisable. Jack White is back in a The White Stripes mode and it fits him very well. The excitement is there, just like his panache. I notice the fun I have listening to this song. So, who knows, I may want to hear more anyway. 

Ready To Run. Samantha Harlow

Time for a new name on this blog. Samantha Harlow is a name I've never encountered before. With Ready To Run she presents a song that is total disagreement with the cover art, where she presents herself as a female Frankenstein from a 1920s silent movie. A role that could have been played by her namesake Jean Harlow, a movie star from the late 20s and 30s, who tragically died from kidney failure at the age of 26. The music is all but scary. Samantha Harlow is not in a hurry. On a slow Latin rhythm she sings her song like Emmylou Harris once did in a song called 'Mr. Sandman'. There is another link with a world long gone, The Andrew Sisters. The music itself sounds very modern because of the way it was recorded, full and majestic. The combination may not be my daily cup of tea, but every once in a while a cup of Assem or Darjeeling tea goes down well, just like Ready To Run does.

Tied. Caitlin

Due to personal circumstances I'm running rather behind on music and the relentless releases do not allow for a lot of options to catch up. Caitlin's EP 'Guardrail' is already out for a month and here I am reviewing one of its singles. Like Samantha Harlow above, Tied is a very quiet affair. Caitlin's driving force is her dreamy sounding voice that seems to hover over the music, that absolutely is in 100% support of her singing. The result is an indie track that does have an exotic flavour. At heart Tied is an acoustic track with a drummer who is not afraid to give an unexpected accent here and there, making me prick up my ears some more. The electric guitar solo is mixed somewhat into the background, for a second one mixed in nearer towards the end and ending the song. After 'You’re Only Good To Calm Me Down', Tied is the second song coming of 'Guardrail' that goes down pretty well with me.

Cigarette. Berm

Listening to Cigarette, I can't shake the idea that the singer is overdoing his voice to give it an Eddie Vedder kind of sound. Listening to Cigarette, the song is so serious that this simply cannot be. What to call it the genre? Alt-folk? Something like that I guess. Berm, Dutch for the soft shoulder of a road, makes its debut on the blog. The band is from Worcester, Massachussetts and has released its debut album 'highway through the trees' on 24 April. The band's approach to its music is extremely down to earth. Don't expect anything frivolous on Cigarette. If anything is, it's in the few keyboard notes played throughout the song. The song works its way slowly towards the end, without any significant changes and yet. It keeps me listening to it almost mesmerised by the repeated note progression.

Wout de Natris - van der Borght 

It's The Long Goodbye. The Twilight Sad

Yesterday and today I have paid and am paying attention to two bands that in my mind are connected because of the kind of music they make, The Boxer Rebellion and The Twilight Sad. Although there are noticeable differences, both play music containing pathos and both have one foot firmly in the 1980s rock of bands like U2, Simple Minds and Big Country. Besides, both were on my long list but did not make it to the blog after their albums' release but do after the CDs were sent to me and I started playing them a lot. So let's take a closer look today at The Twilight Sad.

I can imagine people asking me 'how can you compare these two bands?' Well, just because of what I've written. It is all in the pathos in the music and the dreamy quality that is part of both band's music. That said, The Twilight Sad goes for the big picture, for having a sound that can fill stadiums and arenas. Everything is at least two notches larger. Songs on It's The Long Goodbye simply explode.

This is not the full picture though. As a listener you have to keep your focus, as behind and around the bombastic guitars lie the details that make It's The Long Goodbye a rich listening experience. The Twilight Sad knows how to make a song more interesting and a lot of these facets come from added keyboards.

The Twilight Sad started as a band in 2003 and with It's The Long Goodbye releases its sixth record. In 2026 it is only a duo, James Alexander Graham, vocals and Andy MacFarlane, guitars. In the studio they were joined by David Jeans on drums and Alex Mackay on bass. Add some help from long time friend Robert Smith of The Cure in a few songs and we're there. Together they are able to puff up the songs in a grand way.

Photo: Abbey Raymonde

In the above I've made some comparisons to some great bands from the past and The Cure can be added to that list. The Twilight Sad is able to come across larger than life on record. (I don't know about live, as I never saw the band play.) In the 1980s I was often annoyed with an album after a few songs by the mentioned bands; and still am when playing the records of old. The Twilight Sad avoids this trap. And now you will ask me what is the difference? Unfortunately, I have to come up short for an answer. All I can say is that these songs do not bore me in any way.

With 'Dead Flowers' the album is half way. The song already starts out with a lot of noise and gets bigger and bigger for the whole of the seven minutes it lasts and I'm on board for the whole of the way. Hear the Simple Minds styled keyboards and all they do is make the song better and better. Next up is the single 'Waiting For The Phone Call' that alerted me to what was coming. Robert Smith adds some guitar playing. At the time I wrote "this song will eat you alive" and I notice it still does. Okay, Graham sings a little like Morrissey here but that's easily forgiven, given the force 'Waiting For The Phone Call' is.

In other words, where circa forty years ago I had switched off an album by then to play the other side at a later date, I'm rolling full steam ahead with It's The Long Goodbye ('Designed To Lose'!, Attempt A Crash Landing - Theme'!)). Maybe bands are just better today albeit far less original, as yes, I have heard this kind of music before. With the difference that I simply like it so much more in 2026.

(And then I notice that my download has the order of songs wrong. It doesn't take away anything from the power I've experienced listening to It's The Long Goodbye.)

Wout de Natris - van der Borght

 

You can listen to and order It's The Long Goodbye here:

https://thetwilightsad.bandcamp.com/album/its-the-long-goodbye 

The Second I’m Asleep. The Boxer Rebellion

Today and tomorrow I am paying attention to two bands that in my mind are connected because of the kind of music they make, The Boxer Rebellion and The Twilight Sad. Although there are noticeable differences, both play music containing pathos and both have one foot firmly in the 1980s rock of bands like U2, Simple Minds and Big Country. Besides, both were on my long list but did not make it to the blog after their albums' release but do after the CDs were sent to me and I started playing them a lot. So let's take a closer look with first The Boxer Rebellion.

I had planned to start my review that I know The Boxer Rebellion only from that one song, 'Diamonds'. Checking to be certain, I found that I've reviewed the album 'Ghost Alive' from 2018, also the last album to be released before The Second I'm Asleep. I have to own up here and to quote our former prime minister Rutte, I have no active memory ever to have listened to the album. Chances are, this will change with The Second I'm Asleep. What I've heard is more than worthwhile to listen to again.

The Boxer Rebellion formed a quarter of a century ago in London and is releasing records since 2005. This is the band's seventh studio album. Based on my knowing 'Diamonds', a song that charted in The Netherlands and is a staple in the yearly Top 2000 fest at the end of the year, not much seems to have changed since its release. The Boxer Rebellion plays a dreamy kind of indie rock with musical parts that meander throughout the song. For reference, Canadian acts like Patrick Watson, City + Colour and Half Moon Run come to mind, with Dutch band Loupe as a good contender as well. The Boxer Rebellion fits effortlessly in this list.

Promo photo: Ry Cox

The music on The Second I'm Asleep is dreamy but has grit to the dream. A dream that makes an immediate impression without turning the dream into a nightmare. The swaths of sound synths produce in a song like 'This House' and the voice of singer Nathan Nicholson are interspersed by the tough hits on the snare drum and the piano notes that bring dreamers back to reality immediately. Drummer Piers Hewitt has the tendency to keep the band on track throughout the album. The song is extremely rich by the way, like most songs are. So much is happening musically that my ears have a hard time keeping up. A highlight of The Second I'm Asleep. The surprise is the Massive Attack like triphop influenced 'Second Guess'. The song works really well in the context of the album.

Some might say that the album sounds over-familiar, and not just for The Boxer Rebellion but in general. I've even read negative associations to the title of the album. This may all be. In my ears The Second I'm Asleep sounds urgent, a record by a band that has something to prove and just does. After a hiatus of eight years one tends to speak of a comeback album. Despite having only one song to compare it to, the comeback is successful because of the tightness of the dreamy music and that grit it holds in most of the songs. This band is back alright.

Wout de Natris - van der Borght

 

You can order the album on the band's website:

https://theboxerrebellion.com/products/the-second-i-m-asleep-cd 

 

Heaven Knows What Time. Vera Ellen

Vera Ellen can be found on this blog since 2021 with her debut single on the Flying Nun label from New Zealand, called 'You!'. With Heaven Knows What Time she releases her third full length album since that debut. By now I'm a fan and it will come as no surprise that her latest album is going down like the word of vicar into the mind of his flock.

During my first listening session, I experienced a slight feeling of disappointment. Heaven Knows What Time seemed a bit more of the same. I soon found this had mostly to do with the familiar sound of Vera Ellen's voice. Where the music is concerned things are definitely different, as in richer and fuller.

Just before my vacation I reviewed Courtney Barnett's latest album 'Creature Of Habit'. I noticed how much lighter the album sounded, with Ms. Barnett even using her voice differently in several songs. It is here where the similarities start. While creating her previous album, 'Ideal Home Noises', Vera Ellen was going through a rough patch in her life in a few ways. This was reflected in songs that were bare and rough at the edges. Heaven Knows What Time has dropped the former and enhanced the latter, resulting in songs that are full, often exciting and surprising. Totally opposed to my first impression, in other words. I do not know what Ms. Ellen's mood was while writing this album, but my guess is it was a lot better, as that is what Heaven Knows What Time tells me one album long. Listen to the studio cheering and applause at the end of 'Thaw'. It sounds like someone being very happy with the end result.

The sound on this album for example is far more a band effort, expanding on the indie sound Vera Ellen shared with us so far. This already shows in the opening of the album. 'Spit @ The Sky' starts with two guitars intertwining, but with a luxurious feel to their sound. There's no holding back where the sound is concerned. So, it comes as no surprise when the band joins in at full force, creating an indie version of the light and the shade. Vera Ellen's voice(s) are the cherry on the cake 'Spit @ The Sky' is.

She maintains this level of musicianship with ease. A song may be a little prickly, the melodies jump at you nonetheless, pulling you in to enjoy them fully. Sampled voices come as a surprise but are fun to listen to. Again, they enhance a song, making the album ever more interesting. Another song is slower making the album more varied and thus more interesting. And there is one of the singles, 'When It's Over' with Hemi Hemingway. I already wrote on it, but it deserves a special mention anyway because of its exquisite beauty.

What stays with me most, is the overarching feel the album shares with me as listener. It's totally different from 'Ideal Home Noises', but just like that album it grows and grows on me, allowing me to discover the little extras in the arrangement one at a time. After I've listened to Heaven Knows What Time once again, there's only one complaint left: Vera Ellen is touring Europe (with Aldous Harding) and skips my country. How is that possible!?

Wout de Natris - van der Borght

 

You can listen to and order Heaven Knows What Time here:

https://veraellen.bandcamp.com/album/heaven-knows-what-time