Petal - Magic Gone

The "confessional" album is sought after, but the human desire for secondhand absorption of the artist's personal turmoil allows empty posturing to slip through the net. Formless angst became an aesthetic, an affectation, because we let it; we made it profitable. Still, we know the real deal when we hear it. We treat such an album like a cipher through which the artist's psyche can be decoded.

Kiley Lotz would save you the trouble. She's been upfront about her struggle with mental illness which intensified in between Petal's debut Shame in 2015 and Magic Gone. The lyrics don't sugarcoat it and it's not a stretch to say you can hear it in her performance. In "Comfort", Lotz details in real time the point when she realised a long term relationship was over, and when she wails "I don't fucking care anymore!", you believe her. And yet Magic Gone never feels like a confrontational exercise, staring at you to see who blinks first, because Lotz's melodic acuity won't allow it. It's more downbeat than Shame, - never dirge-like in a way that would make a line such as "I wished the truck on the overpass would tumble down upon me" relentlessly morose, but never trivialising it either.

The Breeders - All Nerve

The Breeders are not a band burdened by the idea of a legacy. All Nerve comes ten years after the middling Mountain Battles and is just the band's fifth album in 28 years. It also makes this lineup - the same that recorded 1993's Last Splash - the first to record more than one album (although, including The Amps, everyone involved has appeared in at least one other iteration). Last Splash was commercially successful in large part due to a confluence of factors such as how "Cannonball" fit in perfectly with MTV's alt-rock agenda at the time and British label 4AD doubling down on its decision to sign American artists, but it endures because of Kim Deal's songwriting and the band's musicianship. 25 years later, there's still so much to unpack in "Cannonball", not to mention the sublime power-pop of "Divine Hammer", the batshit dirge "Mad Lucas" and the alternately boiling and simmering "Roi" and its brief reprise, the latter ingeniously placed at the end of the album after a cover of Ed's Redeeming Qualities' country & western song "Drivin' on 9". But for all that, All Nerve is no attempt to replicate past glory.

Free from expectations and historical context, All Nerve is free to take its time. Opening track "Nervous Mary" uses the same slow-fast structure as Last Splash's opener "New Year", and could have been recorded the day after that album's last session, but the album soon carves out its own identity and indulges in slower tempos more than any other Breeders album, never more so than "Dawn: Making An Effort", which creates a wall of noise out of delayed guitar and cymbal splashes. Josephine Wiggs' bass is prominent without being overbearing, and supplies an intangible, nervous energy, but her standout performance is on "MetaGoth", which puts her in front of the mic and pairs her on guitar with Kelley Deal. Co-written by Wiggs and Kim Deal, it recalls Deal's Pixies contribution "Into the White" in tone, but transplanted into darker, plodding Breeders territory and replete with ominous guitar figures. Wiggs' untarnished English accent and deadpan delivery only amplify the effect. A cover of Krautrockers Amon Düül II's  "Archangel's Thunderbird" keeps the album's back half from slipping from languid to sonorous, and is perhaps the highlight for Jim MacPherson, whose raw, spirited drumming has truly been missed. In fact the interplay between these four musicians has been missed, and it's easy to point to them collectively as the proximate cause for All Nerve being the most vital Breeders album in 25 years.