The great northwest has produced several groups that have fallen into obscurity never to be seen again but then some refuse to go gently into that good night. So many artists have fallen to darkness but there are those that some of us refuse to just let go of because there’s no ignoring great music. Now while Seattle’s post-punk rockers Kinski has shown no signs of slowing down Stumbledown Terrace (Comedy Minus One) is the group’s first release in 7 years. It seems the pause in releases hasn’t dulled the quartet’s musical senses in the slightest. The instrumentals the band creates are stunning and while the music is straightforward, the tracks are infectiously catchy. “Do You Like Long Hair” and “Gang of 3” are testament to that, but the band isn’t solely an instrumental outfit. With songs like “Experimental Hugs,” the band plays with lyrics and while it may not always be necessary, it is refreshing.

Canada doesn’t get the respect it deserves, especially these days. Frog Eyes has been the same and after a few decades, it probably should have had more than it’s received. Its garagey indie rock sound and songwriting is catchy and Carey Mercer’s shakey vocals are charming, and while the group has remained a trio throughout the years, it delivers a full & rich sound with its latest The Open Up (Paper Bag Records). There isn’t a need to fill every single space with sound, it allows the music to take control, directing each song where they need to go.

SWERVEDRIVER – THE WORLD’S FAIR EP

Occasionally, the naysayers are quickly made quiet because talent sometimes can’t be denied. There will always be hesitancy when a once formerly established artist resurfaces with new material but as far as the U.K.’s Swervedriver is concerned, that’s already history. While the band first turned heads with its debut Raise back before the turn of the century in ’91, the group vanished after ‘98s 99^th Dream. That was of course until the band was reimagined and returned in 2015 with I Wasn’t Born To Lose You and later in 2019 with Future Ruins. Now 6 years later since its last release, Swervedriver is back again.

This time around, the band steps forth with its 4-song EP The World’s Fair (Outer Battery Records) and it hasn’t missed a step. While the band first emerged embraced by the shoegaze culture, it rocked harder than most and on its latest release, it hasn’t missed a step. But I’ve already said that (I’d be remiss if I didn’t mention its 99^th Dream reissue or the Doremi Faso Latido outtakes/demo package which was released last year). On the band’s latest release vocalist/guitarist Adam Franklin’s vocals are as rich and succulent as they’ve ever been. That’s just a general analysis but diving directly in the opening “Pack Yr Vision,” musically the band fills the song with harmonies, beautiful guitar melodies, and thunderous percussion. While still similar, it’s a departure from its early days, albeit holding steady to its roaring drum patterns. It’s the clear evolution of Swervedriver and here the band plays with a sonic delivery that’s larger than life while never overly exerting itself. On “Volume Control” the band cuts loose adding distortion to its guitars, with a tremoring rhythm that’s on the brink of explosion.

The stormy piano-driven title track seems to attempt to take things over the top somewhat. While it’s an interesting piece, it glides across its musical landscape with guitars sometimes moving in their own direction. Don’t misunderstand, the noisy drips of guitars fit against the melody strewn across the song, offering a much-needed reprise to the straightforward delivery. This is probably the genius of Swervedriver, never fitting directly under the umbrella of “shoegaze,” with a full-frontal ability to not so subtlety force its songs into another direction all together. It’s masterful.

In the end The World’s Fair gives listeners a look into the band’s songwriting ability and creativity. Sure, we’ll definitely find what we’ve always loved of the band but we’ll also get rock majesty that has carefully evolved.

BOB MOULD – HERE WE GO CRAZY

It’s the return of Bob Mould! Actually, Bob has never left and has continued to release album after album throughout the years. His works has spanned five decades with notable band work in both Hüsker Dü and the pop-inflected Sugar. After the Hüsker break he’s released his solo work but it should also be noted his releases never ran concurrently with any projects he’s worked on, giving everything his full attention. Mould’s solo albums have for the most part been released independently but for his new Here We Go Crazy, that’s a different story. But don’t be remiss because this is a beast of an album.

From the start, The 64-year-old Mould sends a statement with the single “Here We Go Crazy,” which is by far, one of the greatest pop/rock songs written in 2025. Mid tempo rhythm, walls-of-guitars, Mould’s identifiable vocal cadence, with a strong penchant for melody all around. His backing harmonies are infectious but it’s also those explosive guitar chords and keyboard washes that are added to the fray. Mind you, this is just the first and one track. There’s an abundance of diverging musical interplay going on all around here. The explosive “Neanderthal” quickly follows, bursting though proverbial gates with power chords that never let up. Mould matches it with his voice which is just as commanding. There are semblances of his Sugar days, filling all available spaces and it’s glorious! As quickly as it starts, it over just as fast but it makes its point definitely leaving its mark.

Throughout Here We Go Crazy, many of the songs follow the pattern of overdriven guitars with Bob’s signature vocal delivery, it’s only until we get to “Lost Or Stolen” where things make 180 degree turn. The acoustic guitar surfaces, accompanied by soft percussion but anyone can tell Mould would feel comfortable exploding across the terrain here although his guitar still resonates with power, comforting Mould’s voice/lyricism. Make no mistake though, Mould is a master craftsman who set the bar higher than most. Take “Sharp Little Pieces” for example, with a dynamic shift that literally details the fact that he’s done it first and probably better than most, controlling melodies at the drop of a hat. But it’s “You Need To Shine,” complete with walls of guitars, where Mould capitalizes on both power and melody. His compositions, the verse/chorus/verse constructions, vocal harmonizations and melodies, surpass are above par and overshadow his contemporaries even if the world doesn’t realize it.

Here We Go Crazy is Bob Mould’s first solo album in five years and it’s near perfection by any rock standard. There’s no misstep, no error, just pure energy and adrenaline. Bob Mould has given us all what we needed.