Music and Recording Reviews

Wet Leg: Moisturizer
Domino Recording Company (auditioned as CD). 2025. Dan Carey, prod.; Alexis Smith, Adele Phillips, engs.
Performance ****
Sonics *****

Wet Leg—the duo of Rhian Teasdale and Hester Chambers—made a splash in 2021 with the viral success of their debut single "Chaise Longue." Much of the early conversation focused on their playful irreverence, in sound and persona. With the release of their sophomore album Moisturizer, that image begins to shift toward something more layered and musically ambitious.

For this outing, Teasdale and Chambers expanded Wet Leg into a full five-piece band, and all contributed to the songwriting process. Add to that the production expertise of Dan Carey—known for his work with Fontaines D.C. and Black Midi—and the result is a sharper, more sonically rich record that deepens Wet Leg's playful core with newfound grit and cohesion.

The lead single, "Catch These Fists," is perhaps the clearest showcase of their musical growth. Their signature chaotic energy remains, but now it's funneled through a more structured and confident sound. The standout is "Mangetout," a dance-punk anthem with summer-hit potential; it might be their next breakout.

Thematically, Moisturizer takes on a more emotionally open tone. Much of the album was shaped by Teasdale's experience falling in love and publicly embracing her identity. That joy radiates across the record, giving even the most raucous moments a sense of warmth and discovery.

If the album has a fault, it's in its relentlessness. The pace rarely lets up, and at times the barrage of energy can be overwhelming. But Moisturizer ends on a perfect note, with "U and Me at Home," a funky, groove-laden closer full of crowd vocals and fuzzy guitars. It effortlessly marries the band's quirky charm with their increasingly polished rock instincts.

In Moisturizer, Wet Leg proves they're a band growing into their sound, owning their identity, and having fun doing it.—Ray Chelstowski

Matt Berninger: Get Sunk
Concord Records (auditioned as CD). 2025. Sean O'Brien, prod., eng.
Performance *****
Sonics ****

As the creative force behind The National, Matt Berninger has long been known for crafting vivid portraits of characters teetering on the edge, stories made more haunting by his signature baritone vocals. On Get Sunk, his latest solo release, the rock edges of The National fall away, revealing a more introspective, intimate sound.

Working closely with Sean O'Brien, Berninger cowrote all 10 tracks over the course of several years. The result is an album rich in atmosphere, with songs that ebb and flow hypnotically. This is a patient record—one that trades anthemic buildup for emotional nuance. The arrangements are piano-centric and meticulously textured, with crisp edges and subtle drumming that at times evokes the feel of vintage David Gray.

The contributions of collaborators Booker T. Jones, Meg Duffy, and Kyle Resnick add depth and color without overwhelming the intimacy at the core of the songs.

Get Sunk explores identity as a fluid, evolving concept that extends beyond the self. The sea is a recurring motif. "Inland Ocean," the opener, introduces the theme with haunting clarity. The spoken-word track "Nowhere Special" drives it boldly home. The piece positions Berninger as both narrator and character, offering a raw theatrical reflection on the record's central theme.

The album isn't all brooding and contemplation. "Bonnet of Pins" injects a jolt of new wave rhythm and urgency. It's an up-tempo outlier that somehow still feels at home.

Get Sunk marks a defining moment in Berninger's solo trajectory. Free from the larger-than-life dynamics of his band, his voice and the stories it tells have more space to breathe. This softer, more deliberate approach invites listeners to linger longer in his emotional landscapes. Berninger may have crafted his most personal and enduring work yet.—Ray Chelstowski

Ty Segall: Possession
Drag City Records DC915 (auditioned as LP). 2025. Segall, prod., eng.
Performance ****
Sonics ****½

Ty Segall is a prolific artist who has always made music that nods to the past without being derivative. This new album does it again. It's openly nostalgic about stadium rock, stuffed with power-pop jams and upbeat anthems. It is a welcome return to what Segall does best while avoiding certain errors he is prone to.

The music on Possession sounds fresh yet familiar. The title-track opener ends with a spot-on Beach Boys a cappella coda. Like many of the tracks here, it sounds like something you heard on FM radio in the 1970s.

Segall applies horns and strings in ways that give songs like "Skirts of Heaven" a brilliant majesty. They glow. Credit to Mikal Cronin, who put together the horn charts and plays saxophone; the sax parts are fat and sassy. Alongside Jordan Katz, who played trumpet and trombone, Cronin gives the music a sparkle.

Many Beatles-inspired tactics continue to guide his creative process. Sound-bending moments in "Hotel" recall "A Day in the Life." But here, Segall's approach is more Wings than Beatles. His vocal tone and pitch align closely with Paul McCartney's. The harmonies will remind you of tracks from Band on the Run, even on some of the more chaotic songs, like "Alive."

Segall partners again with songwriting collaborator Matt Yoka, who brings a certain sensibility to Segall's music. This keeps Segall away from some of the impulses that have driven his more eclectic work. The songs take risks, but they never fly so high that they fall apart.

Segall's songs shine most when he is most economical. His Beatles makeup is best when applied with a little restraint. Many of these songs can stand on their own without expanded noodling. But the need to test boundaries is what has always made Segall's best work reflect a "possession." It's contagious.—Ray Chelstowski