Music Diary, Vol. 92

For the rationale behind this mad effort, the initial post is here. The full series of Music Diary posts are here. The full playlist is above, and also here.

Week of Oct. 6-12, 2025

LYRICS: Neko Case, "Fox Confessor Brings the Flood"

SONG: It's now most famous because Nujabes sampled Laurindo Almeida's tasteful guitar version, but this elegant repurposing of Ravel's "Pavane pour une infante défunte" is worth hearing in Mildred Bailey's smoky, evocative original vocal rendition from 1939. Listen for the marimbas.

ALBUM: They lead with their celestial vocals, obviously. What I wasn’t prepared for, on Lucius’s most recent record, were their rockier edges and 1970s sounds; at times they evoke Abba covering Fleetwood Mac. Key track for me: the groovy “Gold Rush.”

LYRICS: Andrew Bird, "A Nervous Tic Motion of the Head to the Left"

SONG: It's theoretically possible I would have fallen in love with The Replacements even if this all-time banger were not the first thing I heard by them, but who's to say? The chorus is catchy, but it's Bob Stinson's imposing lead guitar that provides the tune's real hook.

ALBUM: The Velvet Underground were constantly falling apart, never moreso than around this, their fourth record, but you'd never know from listening. They sound like a band with nothing to prove and nothing to lose; this disc has Rolling Stones-worthy swagger.

LYRICS: Roy Rogers (Cole Porter & Robert Fletcher), "Don't Fence Me In"

SONG: This catchy Medina breakup track caught my ear at the gym this morning. I think I figured out why: a teasing dissonance in the chorus, which hits the same 2 notes, F and G, repeatedly over 4 chords. So over the last one, A7, we get a sticky augmented-chord feel—the sound of friction.

ALBUM: Been lolling in this infinity pool of a record by Kali Uchis for the past few days. Her resolute commitment to louche retro chill is impressive in itself, but there are plenty of odd left turns and ear-catching surprises even within the mood of it all.

LYRICS: The White Stripes, “The Union Forever”

SONG: No shade on the Quincy Jones original, but I feel like this exuberant, maximalist James Taylor Quartet rendition of his Blow-Up theme is the tune's ideal form. (And yes, this is source of the "Groove Is in the Heart" bassline.)

ALBUM: Relishing the sweet tension and release of this soundtrack today. On seeing the film, I thought of Jonny Greenwood's music as having 3 modes—spiky piano, reflective acoustic guitar, and swelling synth strings—but repeated listens reveal many other levels.

LYRICS: Madison Cunningham, "Invisible Chalk"

SONG: No mistaking it, Madison Cunningham's newest release is an epic divorce record. It's hard to choose just one example, but this hushed, mournful, very Joni-esque piano ballad sounds like a real breakthrough, both emotionally and songwriting-wise.

ALBUM: Putting to rest any doubts that Madison Cunningham is Joni Mitchell's true heir, today she released her equivalent of Hissing of Summer Lawns. The new record is ambitious, rangy, and ravishing, and (also like Joni) takes shape on piano as much as guitar.

LYRICS: The Velvet Underground, "Candy Says"

SONG: Madison Cunningham’s new disc doesn’t have many full-on rockers, but this one definitely qualifies, and to see her do it live is to witness the full force of its pain and anger. It’s not just in her vocal; look at the way she slashes at the 4 jagged chords of the chorus. Hell hath no fury etc.

ALBUM: I don’t love everything on this wide-ranging Pomplamoose cover collection, but I salute their bravery in taking on some iconic tunes with their deadpan math-pop vibe. My faves come first and last: a trippy “My Favorite Things” and a soaring “Telephone.”

LYRICS: Joni Mitchell, "Jesus"

SONG: Planning to open the service at Greenpoint Reformed Church with this gospel classic, though I can’t promise we’ll reach the heights (or nail the exquisite reharmonizations) of this definitive Parton/Harris/Ronstadt rendition.

ALBUM: As always with Ralph Stanley, the bright banjo playing provides the sunshine and his gnarled, soulful voice, as warm and woolen as an old mitten, fills in the shading. On this fine gospel record, both sound as essential and inevitable as nature.