Wednesday
Bleeds
(Dead Oceans) 
★★★★

SITTING somewhere between country rock, grunge and shoegaze, North Carolina’s Wednesday have become one of the most-talked about US guitar bands over the last few years.

Their sixth record doesn’t disappoint, with founder, lyricist and vocalist Kathy Hartzman hitting the spot with her southern drawl and small town tales, assisted by the rest of the talented band, including her ex (and pretty big indie star himself) MJ Lenderman on guitar.

The album’s singles highlight the band’s hinterland, from the classic, easy-on-the-ear alt-country lilt of Elderberry Wine to the My Bloody Valentine-style noise rock at the end of Wound Up Here (By Holdin’ On).

While there’s a definite ’90s emotional core and sound to the set, it feels like the 28-year-old Hartzman and her crew may have tapped into the cultural and musical zeitgeist too.

Suede
Antidepressants
(BMG)
★★★★

NOW on their tenth record and with frontman Brett Anderson in his late fifties, you might expect the British indie rock group to be relaxing into the autumn of their career.

Instead, thrillingly, Antidepressants is one of the most kinetic and exciting albums I’ve heard for some time.

The opening salvo of Disintegrate, Dancing With The Europeans and the title track (think The Cure meets The Cribs) explodes out of the speakers, fizzing with the kind of energy and euphoric desperation last heard on their poppy 1996 hit set Coming Up. Described by Anderson as their “post-punk record,” it’s a top-heavy set, with the pace understandably letting up in the second half with several ballads.

While many of their ’90s contemporaries are taking the easy road by selling Britpop nostalgia, Suede sound like a band on fire.

Nation of Language
Dance Called Memory
(Sub Pop)
★★★★

WHAT’s that? You love ’80s synth-pop bands? Well let me introduce you to Nation of Language, the Brooklyn trio who have mined this rich seam of popular music since forming in 2016.

And they are very, very good at what they do — their 2021 album The Way Forward was one of my favourite records of that year, while their 2023 follow-up was named Rough Trade’s album of the year.

Much more than simple imitators, they bring their own cool 21st century indie aesthetic to proceedings, and on their new album make the synths especially cold and atmospheric. On Silhouette leadsinger Ian Richard Devaney speaks the verses in a deep voice that is reminiscent of Samuel T Herring from Future Islands, while Under The Water feels incredibly vulnerable.

Another exceptional set with the emotional desolation turned up to 11.