This week: Tindersticks deliver one of their best, most unusual records to date; Mogwai give us what we expect and what we want on their 10th album; a genuinely great live album from The Fall vaults; Sloan's Patrick Pentland releases his solo debut as Fuzzed Out; and the vibrant '90s Halifax, NS alt-rock scene (Eric's Trip, Hardship Post, Sloan, more) gets a spotlight via a newly reissued compilation.

For more of this week's record reviews, Andrew looks at Black Dresses, Cassandra Jenkins, The Hold Steady and more in Notable Releases. And for more Basement-approved stuff from this week: Field Music just announced their eighth album and the new single "No Pressure" is fantastic; Ride's Andy Bell is teaming with Pye Corner Audio for a series of EPs; Crowded House announced their first album in 12 years; and I spent a lot of time recently listening to Beatles covers.

RIP to "The Originator" U-Roy, Stereo Total's Françoise Cactus, and Fat Boys' Prince Markie Dee.

Head below for this week's reviews.

ALBUM OF THE WEEK: Tindersticks - Distractions (City Slang)
Lockdown vibes and a few inspired covers makes for a decidedly different Tindersticks album

Like most everyone, Tindersticks had a much different year planned for 2020. They'd just released No Treasure But Hope, a more band-oriented album than usual, with plans for their most extensive touring in a decade, including rare U.S. shows. The pandemic had other plans, though, and Stuart Staples and the rest of the band soon found themselves with extra time on their hands.

A couple of new songs had already been in the works with a more minimal feel, and Staples kept going in that direction, opening himself to new ideas and experimentation. In June of 2020, with precautionary measures taken, the band convened to make a record unlike any in their nearly 30 years together. Just don't use the "L" word. "‘Distractions’ is not ‘a lockdown album,'" Staples emphatically stated. "I think the confinement provided an opportunity for something that was already happening. It is definitely a part of the album, but not a reaction to it."

Right out of the gate, Distractions is a very different Tindersticks record, mostly eschewing their signature lush orchestration for minimal arrangements that noticeably draw from dubby post-punk, while still inhabiting their signature late night world. Nowhere is this felt stronger than on "Man Alone (Can't Stop the Fear)," the album's 11-minute opener that rides along a claustrophobic groove powered by a hypnotic single-note bassline and a lightly ticking drum machine. As the song rolls on, layers are added (droning synths, ominous "whoa-ohs," brass that sounds like rush hour traffic), the bassline mutates and, when a syncopated ride cymbal comes in along with an endless chant of "Can't Stop the Fear," the dread mounts. It becomes some kind of death disco funk number worthy of The Pop Group.

It's a monumental start to the album which shifts directions a few times, but still crackles with that same dark energy. There are three covers at the center of Distractions and all of them are fantastic. Neil Young's piano ballad "A Man Needs a Maid" is transformed into a late night drive and, with backing vocals from Gina Foster, it steers into trip-hop territory. Likewise, Dory Previn's "The Lady With the Braid" gets a more traditional Tindersticks arrangement, but a dubby rhythm section right out of "Bela Lugosi's Dead" gives everything a fresh, playful feel. Perhaps best of all three is their take on Television Personalities' "You'll Have to Scream Louder" which takes the shambolic indie protest song into a sleazy disco -- 20 minutes after last call -- where you and your partner are the only ones on the dancefloor.

The three other songs on Distractions are all Tindersticks originals, including the beautiful, atmospheric spoken word piece "I Imagine You," and delicate piano torch song "Tue-moi" that was inspired by the 2015 terrorist attack at Le Bataclan. The album closes with another epic-length stunner, "The Bough Bends," that sounds like a storm rolling in from the ocean, with waves of post-rock worthy guitar crashing amidst actual recordings of thunder and rain. As the tempest settles, a tinkling electric piano remains, bobbing as if it were a lifeboat on the sea, having survived such a traumatic event and seeing the sun break through the clouds.

Who's to say if Tindersticks would've made this record, written these songs, arranged them the way they did if they had toured the world as planned. It was a shame not to get to see them, and hopefully they'll return when it's safe to do so, but Distractions feels like a more than equal trade.

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Mogwai - As the Love Continues (Rock Action)
Scottish post-rock greats remain as expansive as ever, even when making records remotely during lockdown

Scottish post-rock greats Mogwai celebrated their 25th anniversary in 2020, and unfortunately had to spend most of it at home, like everybody else, thanks to the pandemic. Part of their schedule was to head to America and hit the studio with Flaming Lips collaborator David Fridmann, who they worked with on 2017's Every Country's Sun, to record their 10th album. They still made their album with Fridmann, but instead had to work virtually, with Mogwai set up at Vada studios in Worcestershire, UK and Fridmann calling in from Upstate NY.

It all seemed to work out pretty well. As the Love Continues, which arrives just a couple weeks shy of their debut single's 25th anniversary, is as expansive as any record they've made. "Dry Fantasy" is the kind of dazzling, slow-bloom wall-of-sound Mogwai do so well, with its many sonic layers spreading warmly and purposefully. Then there are tracks like "To The Bin My Friend, Tonight We Vacate Earth," which opens the album and does sound like a massive spacecraft heading to the stratosphere, or at least something that achieves that feeling.

Mogwai also have a few new moves. While the band tend to keep their mouths shut, they do just fine singing on "Richie Sacramento," whose lyrics were based on a story about Silver Jews' David Berman as told to them by Bob Nastanovich. Meanwhile, the remote nature of the recording process allowed for some cool collaborations. Colin Stetson brings his unique sax appeal and extra skronk to "Pat Stains," with his parts fluttering in the mix like flecks of glitter in a spotlight. Best of all, though, is "Midnight Fit" which features Nine Inch Nails' Atticus Ross. The song combines eerie electronics, Mogwai's roar and a massive string section that is genuinely sweeping and cinematic. This is what you listen to Mogwai for -- that heavy-but-weightless thing that you both expect and want from them, even a quarter century into their existence.

Pick up the double LP on transparent yellow vinyl.

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