JODY MACGREGOR picks out six of the most essential songs of the week, from grunge legends Veruca Salt’s startling return to Karen O joining all those singers who’ve shot the sheriff.
The other day I was trying to explain there was more to grunge than “dudes with guitars and also Courtney Love”. And now Veruca Salt return with their original lineup sounding as if nothing’s changed since 1994, when they rocked faces off with ‘Seether’. ‘The Museum Of Broken Relationships’ is the power chords + angst combo they excelled at, only with a happy ending that suggests a tiny bit of maturity. Not too much, fortunately.
Recorded for Record Store Day, ‘Girls Talk Shit’ finds equal ground between Garbage’s pop songs and their most raucous rock, helped out tremendously on the second half by guest singer Brody Dalle. It’s basically ‘Stupid Girl’ part two, only even more vicious.
Jack White has been a lot of things but he has rarely been this funky. But just because there’s a thick groove underpinning ‘Lazaretto’ doesn’t mean it won’t go crazy a couple minutes in.
A few years ago production team N.A.S.A. release a bunch of ace collaborations with various vocalists from an impressively wide swathe of genres. Hopefully this very chilled version of ‘I Shot The Sheriff’ with Karen O from The Yeah Yeah Yeahs is pointing towards a whole ‘nother album of that, because surprises like hearing how great David Byrne and Chali 2na sounded together are something I want more of.
The internet’s new favourite rapper, Young Thug delivers abrupt rhymes in a strangled voice that’s comparable to Ol’ Dirty Bastard at his weirdest, but also doesn’t really sound like anybody else. That voice is so stretchy it can make basically any words rhyme, and so full of sudden stops and starts that when his swears get edited out it’s hardly noticeable. What would be flaws for anybody else are strengths for Young Thug.
Another pleasant surprise from Record Store Day, ‘Lipton Witch’ is the first Sunny Day Real Estate song heard in over a decade. Not a new song unfortunately, it’s a leftover that captures them at their “Foo Fighters of emo” period and if that combination of arena rock and deeply personal lyricism is what you like then this’ll be right up your alley.