The Seattle-based indie rock band Car Seat Headrest made a stop in Eugene Friday night for a sold-out show at WOW Hall. The tour was in support of the band’s most recent album, “Twin Fantasy (Face to Face).” Fellow Seattle band Naked Giants provided an opening set and also joined Car Seat Headrest on stage later in the night to provide extra instrumentation.

The venue was nearly full by the time Naked Giants took the stage, shortly after 9 p.m. During its opening set, the three-piece band performed songs from its recently released debut LP “SLUFF.” The performance featured a mix of vigorous, jam-heavy garage rock with healthy doses of psychedelic rock thrown in here and there.

Naked Giants guitarist Grant Mullen enjoys a solo. Car Seat Headrest and Naked Giants perform at WOW Hall in Eugene, Ore. on Apr. 6, 2018. (Natalie Waitt-Gibson/Emerald)

A song entitled “TV” — a high point of the band’s set — started out with a stilted guitar riff that gradually expanded into changing tempos and a drawn-out, overdriven jam. One of the band’s more upbeat tracks, “Everybody Thinks They Know (But Nobody Really Knows),” also drew some enthusiastic audience participation during the chorus after the bass player, Gianni Aiello, prompted the crowd to sing along.

Midway through the set, Naked Giants made a joke calling out an audience member as the son of Steve Miller. The band then proceeded to play a cover of the Steve Miller Band classic “Rockin’ Me.” The last song of the set also featured an extended solo from drummer Henry LaVallee. The entire performance lasted around 45 minutes.

After some brief soundchecks and stage rearrangements, Will Toledo — the bandleader and mastermind behind Car Seat Headrest — took the stage. With the added members of Naked Giants on keyboard, percussion and guitar, the live band totaled in at seven people, creating a filled-out sound for the opening song of the set, “Famous Prophets (Stars).”

For a large part of the show, Car Seat Headrest played songs from the recently re-recorded and reimagined cult album, “Twin Fantasy,” which Toledo originally crafted on his laptop back in 2011. These included favorites such as “Beach Life-In-Death” and “Sober to Death,” the latter of which featured a comical, slowed down intro as the band waited for Naked Giants guitarist Grant Mullen to tune after breaking a string.

Car Seat Headrest guitarist Ethan Ives takes over lead vocals. Car Seat Headrest and Naked Giants perform at WOW Hall in Eugene, Ore. on Apr. 6, 2018. (Natalie Waitt-Gibson/Emerald)

More popular tracks from the 2016 album “Teens of Denial” also made their way into the setlist. The energetic “Destroyed By Hippie Powers” and emotional “Drunk Drivers/Killer Whales” were some of the most well-received songs of the night, as was “Fill in the Blank,” which featured an altered guitar part in its intro.

Toledo forewent his usual electric guitar for the concert, choosing only to sing and occasionally play the maracas. Shortly into the set, he mentioned to the crowd that he was sick, but still in a good mood. Throughout the night, his stage presence reflected this willingness to perform. Toledo gave a confident vocal performance along with his music, fully realized for the stage.

Near the end of the night, drummer Andrew Katz made sure to give some praise to Eugene, his own hometown. Both Katz and Toledo expressed their love for the crowd.

After a finishing a solid main set, Car Seat Headrest came back on stage for a one-song encore: a performance of “Nervous Young Inhumans.” Toledo gave a wave and walked off stage after the song’s spoken-word outro. After carrying out the instrumental for a while longer, the rest of the band brought the song, as well as the hour-and-a-half concert, to a close.

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David Byrne’s work as a frontman for the New York band Talking Heads lead to some of the most influential pop music of the late 20th century. With albums like 1980’s “Remain in Light” and the groundbreaking 1984 concert film “Stop Making Sense,” Byrne established himself as a forward-thinking musical mastermind. “American Utopia,” Byrne’s latest project —  his first proper solo album since 2004 — might not be not be as innovative as his music with Talking Heads, but it presents a vision that’s still worth paying attention to.

The album’s title may sound ripe for some kind of postmodern irony, but Byrne swears otherwise.

“The songs are sincere—the title is not ironic,” he said in a press release for the album. “The title is not so much about a utopia, as it is about our longing, frustration, aspirations, fears, hopes regarding what could be, what is possible.”

Those hopeful aspirations seem apparent with song titles such as “Every Day is a Miracle” and “It’s Not Dark Up Here,” but Byrne’s lyrics remain abstruse. Take these lines from the latter song as an example: “Would you like to talk about it / Would you like to pull my hair / Plants have roots / But I don’t know if they’re deep enough to make me stay.”

Of course, these lyrics aren’t too far off from what Byrne was writing about with Talking Heads. And the music on “American Utopia” isn’t much of a departure either. The album mixes synthesizers and world rhythms in Byrne’s familiar art rock style.

“Everybody’s Coming To My House,” the album’s lead single and standout track, provides the best example of this. The song makes use of a breathy saxophone in the intro, a tight, danceable bassline in the verses and some frantic percussion in the chorus. Brian Eno, already credited as both a co-writer and co-producer on this album, is also mentioned specifically for this track’s “composition.”

Another notable song, the album’s opener “I Dance Like This,” bounces between soothing verses and an overwhelming chorus. “I dance like this / Because it feels so damn good / If I could dance better / Well you know that I would,” Byrne sings. The lyrics and musical change-ups help capture the complex feelings of Byrne’s vision.

“Gasoline and Dirty Sheets,” offers up the type of satisfying, melancholic groove Byrne has become known for. A later song, “This is That,” makes great use of some avant-garde electronics to compliment Byrne’s contemplative vocals.

But other tracks on the album, such as “Dog’s Mind” and “Bullet,” never push themselves into the higher realm of musical accomplishment Byrne is capable of. These tracks offer a few interesting lyrics, but they place Byrne’s experimental approach into a boring, formulaic mold, resulting in something dry.

The album closes, however, with the brilliant track, “Here.” Byrne’s lyrics  infuse the brain’s psychological processes with a mystical, life-affirming drive. Its music conjures up the most transcendent ‘80s pop music while simultaneously striving for something new.

Overall, “American Utopia” gives an interesting look into the current headspace of one the most important figures in American pop music. It may not be as good as “Speaking in Tongues,” but it’s still worth listening to.

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Jonathan Franzen, acclaimed author of novels such as “The Corrections” and “Freedom,” visited the University of Oregon Thursday night as part of the Collins Distinguished Speakers’ Series. After a brief introduction from UO professor David Li, Franzen read from one of his essays, gave some thoughts on novel writing and answered a few audience questions.

The event began shortly after 8:00 p.m. The audience was mostly made up of older community members, as the event was free and open to the public. The majority of students in the audience appeared to be grad students.

Franzen told the crowd that he had been unsure of how to use his time, but he offered a few possible directions and took it from there. He began by reading a longform essay that had been published in the Guardian towards the end of 2017. Franzen introduced the essay with the name “The Essay in Dark Times,” but the same work can be found online under its alternative title: “Is It Too Late to Save the World?”

Throughout the reading, Franzen mused on Donald Trump, climate change, birdwatching, and the act of essay writing itself. He also took a number of pauses throughout to offer some added thoughts, as well as a few jokes. The reading of the essay lasted a little less than an hour.

Afterwards, Franzen gave some advice on writing, elaborating on a list of ten rules for writing fiction. Franzen advised that “the reader is a friend, not an adversary, not a spectator,” and criticized the use of first person over third person perspectives in fiction — “unless a ­really distinctive first-person voice ­offers itself irresistibly.”

Franzen also noted, with his sixth rule, that autobiographical fiction necessitates pure invention. He took the time to praise Kafka’s “The Metamorphosis,” stating that nobody had ever written a more autobiographical story. Franzen argued that an author frees themselves to write about  messy, personal shortcomings in their fiction if there is some kind of distance between the writer and the character — in Kafka’s case, the main character being a giant insect.

Towards the end of the night, Franzen turned it over to audience questions. Franzen, being an avid birdwatcher, had mentioned birding a number of times throughout the night. A couple questions focused solely on birdwatching which caused Franzen to make joke: “Thank you for coming out, are there any novel readers in the audience?” Time was limited, so Franzen only took a few more questions and then thanked the audience to end the night.

Franzen won the National Book Award for “The Corrections” in 2001. He is also known for a famous feud with Oprah, which began after he criticized the inclusion of “The Corrections” in Oprah’s Book Club. The two have since made up, and Oprah included Franzen’s book “Freedom” as book club pick in 2010. In the same year, he appeared on the cover of Time Magazine with the headline “Great American Novelist.” Franzen’s most recent novel “Purity” was published in 2015 and he has a collection of essays coming out later this year entitled “The End of the End of the Earth.”

In 2019, Cornel West will visit the University of Oregon as the next speaker in the Collins Distinguished Speakers’ Series.

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Eugene-based doom metal outfit YOB performed at WOW Hall for a packed house of hometown fans Friday night. With a set lasting around an hour and fifteen minutes, YOB managed to perform eight brutal songs — many of which were new tracks from the band’s forthcoming album. The show also featured opening sets from fellow Eugene bands Paranoiac and Maestus.

Paranoiac was first to take the stage around 9 p.m. The band’s set consisted of a frenetic mix of black metal and grindcore, featuring plenty of blast beats and abrasive guitar parts. By the end of the first song, a mosh pit had opened up in the middle of the venue, which mainly consisted of younger fans. On stage, the band jolted between various rhythms, complimented by strobing red lights. Paranoiac kept its set short at around 25 minutes with short breaks in between songs to thank the audience.

Maestus, the second band to perform, played a set that was significantly slower in tempo. The five-piece band featured two vocalists that sang simultaneously in low, gravelly tones. Maestus’ keyboard player — featured during some of the the set’s darker interludes — also brought more of a dreamlike quality to the band’s blackened funeral doom. The stage lighting doused Maestus in blue for the entirety of its set. The band received a warm reaction from the crowd, and by the end of the final song, the crowd was significantly warmed up for a performance from YOB.

Mike Scheidt — the guitarist, vocalist, and band leader of YOB — briefly acknowledged the crowd with a symbol of thanks once he was ready and on stage. He then lead the group straight into its doomy, riff-filled set. Scheidt, tucked behind a microphone stand in the corner of the stage, sang each song with a sense of authority and purpose. Throughout the night, he effortlessly transitioned between low, guttural screams and high-pitched wails.

Scheidt’s guitar playing also provided a strong driving force throughout each song. His significantly detuned power chords encapsulated the entire venue. Despite the heaviness of YOB’s music, the overall sound was comforting. The band’s unrelenting force and repeated riffs resulted in a trance-inducing effect that was almost womb-like.

This could also be attributed to the band’s live mix, which was remarkably well-balanced — a notable achievement for any loud, doom metal show — in addition to the cohesiveness of YOB’s rhythm section. The band’s bassist Aaron Rieseberg and drummer Travis Foster matched Scheidt’s intensity throughout the entirety of the show. Foster brought a powerful sound on a hefty yet minimal drum kit, as Riseberg filled out the low-end with his monstrous bass tone.

Scheidt mentioned during the latter half of the show that the first five songs were new, and would be featured on the band’s upcoming — and recently finished — eighth album. YOB ended its set with some “oldie goldies,” which included a merciless performance of “Burning the Altar” from the 2009 album “The Great Cessation” for the encore.

At the end of the night, Scheidt gave a humble thanks to the audience coupled with an enthusiastic yell. Many metalheads left satisfied.

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Valentine’s Day is a weird holiday. For those in happy and healthy relationships, it’s often enjoyable. For the many people who aren’t, the gushy festivities can feel a little unnecessary. Here’s a playlist for the different types of people who may feel left out this year — whatever the reason may be.

“Too Much Love” – LCD Soundsystem

“Too Much Love,” a track off of LCD Soundsystem’s self-titled debut, stands in solidarity with those put off by the numerous displays of affection that can be witnessed all throughout Valentine’s Day. Vocalist James Murphy may not be referencing the specific holiday, but his lyrics can still apply. “What will you say when the day comes / When it’s no fun,” he sings over the track’s minimalist, dance beat. The song’s extended, instrumental outro provides something nice to fall back into. Getting lost in this track’s hypnotic production will certainly help in forgetting what day it is.

“Nan” – Ween

At first, this track off of Ween’s official debut LP seems pretty mean-spirited. Upon closer inspection, it’s just a little sad. Vocalist Gene Ween sings from the perspective of someone who is completely ignored by the one that they love, and probably on the verge of a breakdown. The song alternates between inappropriate outbursts and pleading confessions of love. “I hate you, you fucker,” he sings near the end, as it sounds like he’s holding back tears. Ween’s typical, over-the-top antics can hopefully act as a distraction for those who find the lyrics either too real or too pathetic.

“I Don’t Love Anyone” – Belle & Sebastian

“I Don’t Love Anyone” isn’t a sad story of unrequited love; it’s simply a carefree statement. This track is for anyone who is completely indifferent by the time Valentine’s Day rolls around. Sometimes romantic feelings are hard to come by, and there’s nothing wrong with that. Belle & Sebastian, in fact, seem to celebrate it. This classic indie pop track is great for those who are content with being alone — at least for a little while.

“Kanga Roo” – Big Star

“Kanga Roo,” an unconventional ballad off of Big Star’s “Third,” is both incredibly sad and hauntingly beautiful. Its lyrics are intentionally vague, giving fragmented details of an obscured relationship. It’s hard to make out the specifics, but the song’s swirling instrumental, along with member Alex Chilton’s downcast vocals, hint at anything from melancholia to heartbreak. The experimental production on this track offers a lot to enjoy, but those particularly inclined towards gloomy feelings around Valentine’s Day should probably avoid repeat listens.

“Anthrax” – Gang of Four

“Anthrax” — the closing track on Gang of Four’s seminal debut “Entertainment!” — is a biting antithesis to everything Valentine’s Day represents. After starting with a loud, feedback-driven guitar, it delves into a disorienting mix of vocals and a spoken-word monologue, layered on top of each other. “Love will get you like a case of anthrax / And that’s something I don’t want to catch,” frontman Jon King sings repeatedly. For those who feel somewhat disillusioned during this holiday, Gang of Four’s post-punk classic is a good way to go.

And a few others:

“Happy Valentine’s Day” – OutKast

“The World Has Turned And Left Me Here” – Weezer

“Add It Up” – Violent Femmes

“Chamber of Reflection” – Mac DeMarco

“No Scrubs” – TLC

Listen to the full playlist here:

The post Emerald Recommends: Anti-Valentine’s Day Songs appeared first on Emerald Media.

There’s a lot that could be said about “In the Aeroplane Over the Sea.” For some, Neutral Milk Hotel’s folky sophomore record is a work of genius. Since its release in 1998, the album has developed a strong cult following, evident by steady record sales and a large amount of appreciation found online.

But for others, it’s less than pleasurable, just plain weird or even obnoxious. With its polarizing nature, the album has reached an iconic and almost mythic status. Feb. 10 marks the 20th anniversary of its release. Two decades later, “In the Aeroplane Over the Sea” remains an undoubted indie-rock classic, and arguably, a masterpiece.

In the late ‘90s, Neutral Milk Hotel’s frontman and principal songwriter, Jeff Mangum, moved from Athens, Georgia, to Denver, Colorado. His goal was to begin work on a follow up to his band’s 1996 album “On Avery Island.” During the late summer months of 1997, Mangum recorded “Aeroplane” with producer Robert Schneider at the now-defunct Pet Sounds Studio. At the time, the band’s label, Merge Records, estimated the album would sell around 5,500 CDs and 1,600 vinyl copies.

“Aeroplane” was an oddity from the start. Its repeated references to Anne Frank make it a concept album — sort of. Mangum reportedly read “The Diary of a Young Girl,” before recording, and he cried for three days straight. The inspiration pops up in the lyrics. For example, the track “Holland, 1945” contains these lines: “But then they buried her alive / One evening, 1945 / With just her sister by her side / Only weeks before the guns / All came and rained on everyone.”

Then there are the other completely enigmatic phrases such as the repeated “semen stains the mountaintops,” heard on the track “Communist Daughter,” or the impassioned “I love you, Jesus Christ,” which Mangum manages to belt out a good number of times on “King of Carrot Flowers Pts. 2 & 3.” These lines and others have certainly helped to carve out the album’s cult status. But while they are easy to make fun of, the nonsensical nature of Mangum’s lyrics often come with their own beautiful imagery. It’s hard not to appreciate lines such as these: “And through the music he sweetly displays / Silver speakers that sparkle all day/ Made for his lover who’s floating and choking with her hands across her face.”

Pair that with the album’s near-perfect production. During the quiet moments, Mangum’s acoustic guitar sounds like it’s right there in the room with his listeners. But when things become loud — as they do on the punky “Holland, 1945” — the recording is amplified to the point of distortion, giving the record a brilliant lo-fi charm, somehow without the usual abrasiveness that comes along with that.

When pushed past Mangum’s humble acoustic, “Aeroplane” takes full advantage of some obscure instrumentation. Besides the majestic, and sometimes dirge-like use of horns, the record incorporates everything from a singing saw to a shortwave radio, giving it an almost otherworldly or even fantastical feel. The use of bagpipes on the album’s untitled, instrumental track also makes for an uplifting high point.

Given its unique nature, “Aeroplane” has inspired much talk and devotion over the years, and that hasn’t come without a few negative associations. For one, the album has come to be linked with a contemporary hipster subculture — “hipster” being an embarrassing word to even type in 2018 — as the album’s perceived obscurity often lends itself to annoying, pretentious, and often entry-level record collectors. The album has earned itself some references in a John Green novel as well, which surely can inspire some eyerolls. And then there’s the reputation and apparent meme-status “Aeroplane” still holds on websites like 4chan — which a number of politically correct people would consider one of the worst parts of the internet.

“In the Aeroplane Over the Sea” is best enjoyed without all the noise that surrounds it. The album remains Jeff Mangum’s opus, as well as the last full-length record Neutral Milk Hotel ever released. It’s 20 years old, yet it still feels timeless, and completely unlike anything else. As the album finishes — Mangum audibly sets down his guitar at the end of “Two-Headed Boy, Pt. 2” — the listener is left with something magical to think back on.

The post ‘Semen stains the mountaintops’: Looking back on Neutral Milk Hotel’s ‘In the Aeroplane Over the Sea’ 20 years later appeared first on Emerald Media.

The annual Sasquatch! music festival announced its 2018 lineup on Feb. 5. The festival will return to Washington’s Gorge Amphitheater on Memorial Day weekend (May 25 to 27) for its 17th year and will feature a variety of artists including David Byrne, Slowdive and Tyler, the Creator.

The headliners for this year’s event include three indie heavyweights: The National, Modest Mouse and Bon Iver. A headlining spot for David Byrne also makes up for the noticeable lack of legacy acts in the previous year’s lineup.

The announcement also featured a number of other recognizable names including indie-rock acts Spoon, Grizzly Bear and TV on the Radio. Artists such as Hippo Campus and Japanese Breakfast also made their way onto the list, alongside the veteran shoegazers Slowdive and the indie-rock icon Neko Case.

But for anyone that is bored by indie rock music, the festival will offer a number of worthwhile alternatives. The soulful hip-hop artist Tyler, the Creator is scheduled to perform along with a set from the forward-thinking rapper Vince Staples. Other notable names in the genres of hip-hop and R&B include Thundercat, Noname, and Anderson Paak.

Three-day tickets will cost $325 and are set to go on sale Saturday, Feb. 10.

Check out the full lineup below:

Bon Iver, The National, Modest Mouse

David Byrne, Tyler, the Creator, Ray Lamontagne

Anderson Paak & The Free Nationals, Spoon, Grizzly Bear

Explosions in the Sky, Neko Case, Vince Staples

TV on the Radio, Slowdive, Tash Sultana

Thundercat, Shakey Graves, Tune-Yards

Wolf Parade, Japandroids, Snakehips

What So Not, Jai Wolf, Perfume Genius

Noname, Margot Price, Petit Biscuit

Lizzo, Hippo Campus, Tokimonsta

Nao, Julien Baker, Pedro The Lion

Whitney, Pup, Pond, Tank & the Bangas

Jlin, Pickwick, Thunderpussy, Tyler Childers

Girlpool, Big Thief, Hurray For The Riff Raff

Japanese Breakfast, (Sandy) Alex G, Curtis Harding

Rostam, Lemaitre, Typhoon, Gang of Youths

Dhani Harrison, Jacob Banks, Algiers, Sango

Jeff Rosenstock, Chastity Belt, Son Little, Barclay Crenshaw

Benjamin Clementine, Too Many Zooz, The Garden

Oliver, The Suffers, Phoebe Bridgers, White Reaper

Alex Lahey, Escort, Charly Bliss, Taco, Giants In The Trees

The Weather Station, Aquilo, Magic Sword

Wilderado, Polyrhythmics, Mimicking Birds

CCFX, Choir! Choir! Choir!, Bread & Butter

View the announcement video:

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The noted hard-rockers, Queens of the Stone Age, made a stop at Eugene’s Hult Center Saturday night in support of the group’s most recent album “Villains.” The band’s performance, along with an opening set from the boogie rock band Eagles of Death Metal, made for one of the loudest nights possible at the downtown performing arts center.

The show began around 8:30 when Eagles of Death Metal strolled on stage to Pilot’s 1975 hit “Magic” blaring over the theater’s PA speakers, garnering a loud applause from the audience. Throughout the 45-minute set, the band stuck to more popular songs such as “I Only Want You” and “I Want You So Hard.” During the breaks, frontman Jesse Hughes yelled into the mic in an over-the-top fashion about the “power of rock n’ roll music.”

A cover of David Bowie’s “Moonage Daydream” was one highlight from the set, as well as a few extended solos near the end of the band’s performance. For the band’s finale, “Speaking In Tongues,” Queens of the Stone Age frontman Josh Homme made an appearance on stage to play drums. Homme, a recording member of Eagles of Death Metal, rarely plays live with the band as he is often busy touring with Queens of the Stone Age. The fact that both bands were performing that night made the special appearance possible.

Queens of the Stone Age’s already impressive performance was elevated by an array of LED light poles (Brett Hoskins)

Eagles of Death Metal filled the entire venue with a wall of sound and did an admirable job warming up the crowd for the headliner. There was a short break in between sets as the stage was prepped with instruments and an elaborate lighting setup. Soon after, everyone stood to their feet as Queens of the Stone Age took the stage.

As soon as Josh Homme made it to the microphone, he let everyone know that he was wasted and ready to have a good time. He announced again that he was “shitfaced” during the first break in the music. This was met with some enthusiastic shouts from the audience members — some of them probably wasted themselves. The band opened up its set with “If I Had A Tail” and followed immediately with “Monsters In the Parasol.” These songs made for anything but a slow start, and despite Homme’s apparent level of intoxication, he hit every note perfectly.

There was, however, some amusing stage banter coming from Homme in between songs. Among other things, he commented on the quality of the Hult Center in comparison to the hockey stadiums the band had recently played at — likely in reference to Portland’s own Memorial Coliseum, where the group had performed the night before. Homme also poked fun at Eugene saying it was a town where everyone “snowboards and smokes weed,” just before making a sincere remark about the special vibe the city holds.

Queens of the Stone Age lead singer Josh Homme played drums with Eagles of Death Metal for the last several songs of their opening set. (Brett Hoskins)

The band largely stuck to material from its two most recent albums. Drummer Jon Theodore shined on an excellent performance of “My God Is the Sun.” A more recent track, “The Evil Has Landed,” also made its way into the setlist, sounding even better than the studio recording. But the band made sure not to leave out some of its biggest hits including “No One Knows,” on which Theodore took an extended drum solo.

The band’s expertly timed stage lighting only enhanced the experience of the show. The lights changed with each song — and almost every note — switching between vibrant colors and bright strobe lights that silhouetted the entire band. A performance of “Sick Sick Sick” utilized the best stage lighting, as bright, white lights quickly shifted from the left and right sides of the stage, in sync with Homme’s vocals.

The show finished with an encore, in which the band played the fast-paced “Go With The Flow” and then the noisy “Song For the Dead” from its acclaimed 2002 album “Songs for the Deaf.” The band thanked the crowd before making their way off stage, concluding what was likely the loudest show the Hult Center has ever held.

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After each year-end list has been compiled, it’s time to think about the future. From Ty Segall to MGMT, here is a list of albums to look forward to in 2018.

Ty Segall – “Freedom’s Goblin” (Jan. 26)

A new album from Ty Segall shouldn’t come as too much of a surprise. The California garage- rock artist has released a new solo album almost every year since his self-titled debut in 2008. In 2015, he still managed to drop a live album and an EP. His upcoming album, “Freedom’s Goblin,” is set to release on Jan. 26. A fuzzed-up cover of Hot Chocolate’s 1978 hit “Every 1’s A Winner” sits among the album’s singles, hinting at more of a pop-oriented sound. This could possibly be one of Ty Segall’s most eclectic releases, given the horn solo on the single “My Lady’s On Fire,” and the hectic guitar on the track “Meaning.” No matter what, it’s safe to assume that “Freedom’s Goblin” will be nothing less than a solid addition to Ty Segall’s growing discography.

Belle & Sebastian – “How To Solve Our Human Problems” (Jan. 19, Feb. 16)

Indie-pop outfit Belle & Sebastian may be most well known for their ‘90s output — albums such as “Tigermilk” and “If You’re Feeling Sinister” — yet the band has continued to release music up through the current decade. Belle & Sebastian’s most recent project, “How To Solve Our Human Problems,” is actually not an album but a series of three EPs, the first of which was released on Dec. 8 of last year. The second and third installments, however, are slated to be released on Jan. 19 and Feb. 16 respectively. Two singles have been released in anticipation of “Human Problems, pt. 2,” a disco-influenced track called “The Same Star” and the more subdued “I’ll Be Your Pilot.”

Ought – “Room Inside The World” (Feb. 16)

The Canadian band Ought made a name for itself a few years ago with the brainy post-punk of its first two LPs, “More than Any Other Day” and “Sun Coming Down.” In the past, vocalist Tim Darcy sang frantically over artsy guitar parts, reminiscent of bands such as Sonic Youth and Joy Division. Ought’s latest single, “These 3 Things,” suggests a shift in the band’s sound, as a simple drum machine replaces the complicated beats and dynamic tempos of the first two records. The group is far from the first post-punk band to embrace a more rigid, electronic sound, but this progression should still make for an interesting third album. The LP will be titled “Room Inside The World,” and is set to release Feb. 16.

MGMT – “Little Dark Age” (release date TBA)

Andrew VanWyngarden and Ben Goldwasser, the duo behind the neo-psychedelic sounds of MGMT, haven’t released a full studio LP since their 2013 self-titled release. Towards the end of 2016, the band announced that a follow-up record was in the works, but no further details emerged until mid-2017 when the duo announced that the project will be titled “Little Dark Age.” The record’s first single — titled after the album — was released on Oct. 17 with an accompanying music video, featuring a gothic tinge to the group’s familiar synth-pop aesthetic. Another single, the warbling “When You Die,” was released on Dec. 12 and features some discomforting lyrics about death over the band’s refined psychedelic sound. With these songs, the album will likely be a little darker than previous releases in the band’s discography. “Little Dark Age” does not currently have an official release date, but it is expected during the first quarter of this year.

My Bloody Valentine – [currently untitled] (release date TBA)

Many shoegaze bands have been able to make a welcome comeback recently, thanks to a renewed interest in the genre. In 2017, both Slowdive and Ride released albums — each for the first time in over 20 years. My Bloody Valentine was ahead of the curve when the group released “MBV” in 2013, the band’s first album since its 1991 masterpiece “Loveless.” Guitarist Kevin Shields recently confirmed in an interview that its members were working on a follow-up to “MBV,” set to be released sometime in 2018. No singles for the album have been released yet, and at this time the project remains unnamed. Until more information is announced, fans can indulge in “Only Once Away My Son,” a collaborative track Shields created with ambient artist Brian Eno back in November of last year.

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“Utopia,” Björk’s latest album, can be seen as a companion to 2015’s “Vulnicura,” as it explores many similar subjects. “Vulnicura” functioned as a way for the Icelandic singer to process a breakup with her long-term partner, American artist Matthew Barney. Naturally, the album took on a somber tone; however, on “Utopia,” things are noticeably brighter, like a light at the end of a tunnel.

“Arisen My Senses,” the album’s opening track, immediately communicates that change. It begins like a cool spring morning, with the sound of chirping birds, just before shifting into a dense mix of colorful synth chords, subtle harp sounds and complex, layered vocals.

Björk built the song around a sample from Arca, the electronic music producer who returns as a co-producer after his previous work on “Vulnicura.” The song’s production, which is both lush and euphoric, expertly sets the tone for the colorful world explored throughout “Utopia.”

The next track, “Blissing Me,” features a similar swirl of acoustics and electronics, and tells the story of two “music nerds” falling in love as they share songs with one another. The lyrics — “He reminds me of the love in me / I’m celebrating on a vibrancy” — capture the bliss and excited nervousness of a blossoming relationship, and they work well to convey the singer’s renewed openness to  love.

On “The Gate,” Björk explores the same concept from a more immediate perspective. “My healed chest wound transformed into a gate / Where I receive love from / Where I give love from,” she sings. The blooming synth chords and fleeting woodwind textures create an atmosphere that is both comforting and encapsulating.

“Utopia’s” sonic landscapes are incredibly cohesive; all of these songs feel like they are set in the same world. The orchestral flute arrangements — a recurring motif — are both playful and serene, as are the ambient bird sounds placed behind the instrumentation. These aspects create a vivid and otherworldly environment that can easily be stepped into.

Vestiges of a broken relationship, however, can still be found on “Utopia,” sometimes interrupting the tranquility. “Sue Me” features a stifled beat that stands out from the rest of the album, and the song’s lyrics — “Sue me all you want / I won’t denounce her origin” — detail a turbulent custody battle. The song “Features Creatures” utilizes a haunting instrumental, over which Björk sings about discomforting reminders of her former lover.

Yet these bleak moments do little to detract from “Utopia.” The complex emotional gradients only feel natural in light of Björk’s recent experiences. They ground the album in reality, an element that utopian visions often struggle with.

“Utopia” ends on a joyful note, with a radiant trio of songs. “Paradisia,” a short instrumental, explodes with heavenly euphoria, and “Saint” offers up a transcendent flute arrangement along with lyrics that speak to the healing power of music.

The album concludes with the hopeful “Forever Future,” on which the artist sings a repeated phrase: “Hold fort for love forever.” On “Utopia,” Björk has crafted a welcoming world that’s worth getting lost in.

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