GRIMES- "ART ANGELS"

Claire Elise Boucher has established herself as one of the most relentlessly prolific musical forces to be reckoned with in the last five years; through an earnest, whimsical art school approach and neon-pop allure, she's carved a name for herself as both performer and producer under the name GRIMES.  Releasing a slew of self-produced/self-contained EP's and albums under both her name and the Grimes moniker within a few short years- the debut of her widely-revered label debut "Visions" is what cemented her path as an intriguing, idiosyncratic creator.

Pushing her wide gamut of influences (which scour the deep cuts of electronics, dance, pop, R&B, and practically everything but the kitchen sink), her new album "Art Angels" finds the mystical misadventures of Grimes swimming into the waters of an uncharted pop space odyssey.  The bleeps and bloops of the critically-acclaimed "Visions" is still there, as are the frantically manic blasts of near-violent synthscapes-- but now they serve as a source of rhythm and texture to accompany MELODY.  Never one to shy from her love of radio-friendly hooks or refrains, "Art Angels" is a widely-intoxicating and wholly engaging album to first time listeners as it embraces its pop-sensibilities whole-heartedly.

Get YOUR COPY of GRIMES' "ART ANGELS" right HERE!

Neon Indian- "VEGA INTL. Night School"

Neon Indian, otherwise known as its charismatic frontman/multi-instrumentalist/mastermind Alan Palomo- broke onto the independent electronic scene in the mid 2000's with a compelling debut, "Psychic Chasms".  Blending retro synth patches and analog keyboards by the truckload, the band executes a confident flair for throwback-futurism with modern hook writing with the strength of a group that's toured for years.  Rapidly following up their debut with effortless pinache with "Era Extraña" merely a year later, Neon Indian snuck into the folds of critical darlings without breaking a sweat.

While not exactly breaking formula, "VEGA INTL. Night School" finds Neon Indian wading into the waters of pop accessibility without reservation.  The strengths of the band are on full display- almost heightened so, bringing the hooks and synth waves originally buried for texture, are at the forefront as a punctuating force for the undeniably catchy songwriting.  The borderline-bubblegum approach is what separates this latest offering from its predecessors- this is a close cousin to a perfect Saturday night party album.

Click Here to grab your copy of Neon Indian's "VEGA INTL. Night School"

BOOTS- "Aquaria"

Boots, or Jordan Asher behind closed doors, has had an inspired introduction among the troupes of producers-turned-musicians.  Being the head cook in the kitchen behind a good share of Beyonce's last album, as well as collaborations with FKA Twigs and Run The Jewels, Asher's resume is filled with promise for his solo effort.  Which makes his debut solo-outting, "Aquaria", such a curious outing. 

Boasting some (expected) dynamic production, Asher balances complicated beat production and sparse synths as the underlying thread of an often-indecisive sing-speak lyrical delivery.  The results are mixed at times, but they work on multiple levels; controlled chaos pushing melodic undercurrents throughout.  There's no denying his pop roots, he shines brightest when his glossy production takes center stage- his songcrafting could easily fit among the Top 40 charts with an unabashed adherence to hooks.  If he continues exploring the mesh of his frenetic instrumentation with his cool & collected delivery, there's a definite mainstream crossover on the horizon.

GET YOUR COPY OF BOOTS "AQUARIA" HERE!

Wavves x Cloud Nothings "No Life For Me"

Kids that play guitars like the vitriolic, weapons of mass destruction and chaos have been rapidly fading into the ether as a thing of the past; by all accounts, if the mandolin-lined hallways of modern alterna/indie fodder is any indication- this will be the first generation of misguided youth whose parents rocked harder than them.  But there are still a few stragglers clinging to their distortion pedals and post-punk inclinations, enter WAVVES and CLOUD NOTHINGS.  Both have set themselves apart from the Pitchfork darlings with a brand of thrashy, reckless abandonment and banshee-shrill vocals, not seen since the departure of the late Jay Reatard and both embrace the role without a moment's hesitation. So it would only make sense that the two groups joined forces to create a barn-burner of a rock n' roll avalanche.

The album, clocking in under a half hour at just nine tracks, however, is surprisingly RESTRAINED.  On paper, one would expect sheer chaos and borderline unlistenable garage fuzz- but both Dylan Baldi and Nathan Williams' separatist ideas and approaches marry and compliment in ways completely unexpected.  Potential trainwreck allegory aside, the strengths of each band compliment the others- but so much so, in fact, that the two become indistinguishable. Wavves nuance for sugary choruses crosses paths with Cloud Nothing's manic riff science like reunited family and LOUDLY.  If you're searching for a refreshing blend of modern post-punk sensibility and sturdy songwriting, "No Life For Me" might be the beacon of hope for those rabblerousing kids you need.

YOU CAN GET YOUR COPY HERE!

Health- "Death Magic"

HEALTH is a musical conundrum by sheer definition.  Born out of a pastiche of cacophonous synths and percussive blasts of sheer noise, the band's latest album Death Magic, is elegantly violet and visceral from beginning to end.  Formed in 2007 and gaining rabid appreciation thanks in part to a remix from fellow avant-popsters Crystal Castles, HEALTH released their self-produced/self-titled debut to almost immediate critical acclaim.  Mixing contortionist noise rock and hack/slash electronics with unaffected, melodic vocals, the band has continuously reinvented itself with each of its albums and counterpart remix albums.

With nearly five years and no new material proper from the band (par for a surprisingly brilliant turn as soundtrack composers for the video game Max Payne 3), HEALTH quietly released the track "New Coke" to Sirius XM to surprising jubilation.  Death Magic  finds the band honing their patented sound and refining it to its most impacting and streamlined- embracing their adoration for modern pop hooks and crafting a record that balances both the menacing and the elegant.

Get your copy of HEALTH's "DEATH MAGIC" by clicking RIGHT HERE!

RATATAT- "Magnifique"

RATATAT, or the dynamic duo of Evan Mast and Mike Stroud, made a name for themselves in the Brooklyn underground through a series of self-released demos and remixes.  Their patented instrumental recipe of swirling distorted guitars over hip hop beats rapidly gained the attention of labelmakers and fellow artists alike, garnishing them a prolific touring circuit including a rare performance at the Guggenheim Museum.  The two released 4 albums within the span of their career before seemingly disappearing on an unspoken hiatus.  Nearly 5 years after their last album "LP4", RATATAT has finally returned with their follow-up, "Magnifique".

"Magnifique" is hardly a departure from the band's patented sound (which is a welcome break in the monotony of modern music's predilection for the melancholic)- what they've managed to emphasize this go-ground is dynamics.  Where most instrumental acts meander through soundscapes with elegance and grace, RATATAT punctuate with shrill guitars and keyboard work throughout- creating a unique sound  that's equal part excitement and exploration. 

Get your copy of RATATAT's "MAGNIFIQUE" by clicking RIGHT HERE!

Unknown Mortal Orchestra- "Multi-Love"

Unknown Mortal Orchestra, the brainchild of former Mint Chicks member Ruban Neilson, debuted their initial offering (the single track "Ffunny Ffreiends") anonymously on Bandcamp without explanation, source, or fanfare. Upon various blogs and curious parties' elevated interest, Neilson dubbed the track a product of Unknown Mortal Orchestra.  The remainder of their history seemingly attracts similar secrecy and a knowing lack of disclosure.  With firm roots in throwback psychedelia and steadfast experimental pop, their debut album and consequential follow-up "II" quickly became critical darlings.

Their latest offering, "Multi-Love", is a welcome-change of pace however.  Sprinkling hints of lo-fi synth tapestries, (meticulously) compressed drums and some of the finest production of the year- Neilson has broken his own patented formula by raiding the bins of avant-funk and deep soul.  The results are a surprisingly tactile bag of legitimate jams and bedroom eyed grooves that service the melancholic dancefloors and after hours clubs equally.

To get your copy of UNKNOWN MORTAL ORCHESTRA's "MULTI-LOVE" CLICK HERE!

Skrillex and Diplo present "JACK U"

Skrillex and Diplo. Clear all preconceived notions you may have about the pair of prolific DJ's, whether you like them or not-- separately they have managed to undercut the world of modern EDM for better or worse to varying degrees.  Both have relentlessly spawned mass-cult followings and heightened their direction with each release- so the collaboration of the two could prove to be a team-up of box office super hero proportions- WHICH IT IS.

Admittedly, any reviewer is looking for an excuse to rip the titans down- but Jack ü makes it difficult to find any cracks in the surface.  With a barrage of guest spots including Keiza, 2 Chainz, Justin Bieber and Missy Elliot, the album hits all the right notes to be a perfect summer dance album; effortlessly incorporating silky r&b-laced chorus among patented Diplo/Skrillex beat drops.  This album is the epitome of two individual artists feeding off each others' frenetic energy to ensure the party never stops.

Full disclosure, this particular reviewer absolutely hated both Diplo and Skrillex prior to hearing this album- but now? I'd consider myself a convert.

Get your copy of Jack ü by Skrillex and Diplo RIGHT HERE!

Jamie XX- "In Colour"

Jamie XX has been an integral contributor to the select movement of indie artists unfurling genres to reignite the flames of their tired sounds.  As a founding member of bedroom-eyed slow jammers, The xx, Mister XX injected soulful gloom and R&B-inspired grooves into minimalist indie pop to create their cool, collected pastiche.  His library of remixes and collaborations with Gil-Scott Heron have proven his confidence behind the board as a producer as well-- layering songs with ethereal poise, always on the brink of breaking the subdued for the anthemic.

His debut full-length, "In Colour", boasts Jamie at the height of his wünderkid proficiency. Lacking the deliberate restraint he demonstrates with The xx, "Colour" is immediately striking with its dancefloor push; confidently reeling the listener in from the first few notes.  Above all else, the album should be a course-study for up-and-coming young producers as an exercise in mood & punctuation; XX's knack for elevating the listener with auditory purpose is unsurpassed.  Blissfulness and melancholy ride in tandem throughout the album, which is arguably Jamie XX's strength as both an artist and producer; which should prove to make for a hypnotic career to come.

CLICK HERE to get YOUR copy of JAMIE XX's "IN COLOUR"

Holly Herndon- "Platform"

In the world of experimental music it takes an undeniable polar shift to transpire new blood, let alone new ideas and execution.  The realm of uncovered sounds has become the uncompromising battlegrounds for synth patches, vocal samplings and unlimited noise chucked through filters and processors until they become unrecognizable from its source.  Enter Holly Herndon, the potential phoenix from the ashes of the modern avant garde movement.

With a guarded, logic-based approach to songcrafting, Herndon's penchant leans toward the melancholic side of the spectrum; swelling orchestrated electronics are punctuated with whisper-soft elegant vocals throughout, mindful of the prospects of truncated noise.  Forgoing the standard-issue cliches of your run-of-the-mill Pitchfork darlings for more organic and ethereal textures, Holly Herndon's body of work could easily stand to be a welcome beacon of change for the audio visual community, and what a welcome change it would be.

Grab your copy of HOLLY HERNDON'S "PLATFORM" here!

STS & RJD2- "STSxRJD2"

RJD2 (or Ramble Jon Krohn to his compatriots) has been a noteworthy slaughterhouse of infectiously tight production and beatmaking since breaking onto the scene with 2002's "Deadringer" and has consistently had a hand in making high-impact hip hop.  His solo career and various collaborations, including "Magnificent City" with Aceyalone (the instrumental for "A Beautiful Mine" has since been co-opted as the opening titles theme for a little show called Mad Men), has spanned a number of high-ranking footnotes in modern DJing. His knack for unleashing newcomers and showcasing their work as the elder-statesman brings us to his latest endeavor: "STSxRJD2".

Atlanta-bred, Philly-native rapper Silver Tongue Slim (STS) has the makings of a hip hop prodigy: lightning-fast rapid-fire delivery (think Andre3000 at the height of his game) and lyrical precision that rivals the best the underground has to offer. Easily one of the rap-game's best kept secrets, RJD2 embellishes the high points with the ease of a soundtrack composer and the two deliver an album of bouncy, high-energy soul-woven tracks primed for summer.

Grab YOUR copy of STSxRJD2 by clicking RIGHT HERE!

Metz "II"

If Metz ruled the world, no songs would last longer than three minutes and guitars could only be used at maximum volume and brandished like weapons of mass destruction.  Unfortunately, Metz exist in a miniscule ether of the musical stratosphere reserved for the scattered few that still believe aggressive music could continue past the death of Nirvana.  Blasting onto the scene with their angular, post-hardcore-inspired fretwork and fearless application of noise, Metz's debut album (aptly-titled "Metz") set them apart the pack with reckless abandonment.

Returning with the immediacy of a four-alarm fire, Metz are back with their latest offering: the cleverly-named, "II".  True to form, Metz have been reluctant to revamp what made their initial release so transgressive to the genre. If it ain't broke, don't fix it- the old saying goes, and so Metz carries on as such.  The band is hyperbolically self-aware of their strengths and they deliver precisely what existed so seamlessly on previous works: short, fast, and immersive post-punk.  Ten songs of merciless, blast-back energy without frills or pandering.

Get your copy of METZ "II" RIGHT HERE!

Blur "The Magic Whip"

It's 2015 and there's a new Blur.  The forerunners of the spiraling Brit-pop explosion of the early nineties (alongside infamous rabblerousers, the Brothers Gallagher), Blur's 1991 debut "Leisure" broke the band into the BBC Radio mainstream like a fuse to a powder keg.  Enigmatic frontman Damon Albarn's melancholic musings on suburban drudgery and bratty nose-thumbing to Brittania traditionalism paired with the needlessly infectious hooks of founding member Graham Coxon made for a barnstorming pop powerhouse that chugged through seven well-received albums.  Outside of Blur, Albarn's kept busy with various side projects including Gorillaz and his own solo album this year- which makes you wonder, where does he find the time for another Blur album?

The answer: He's simply good at what he does.  Recorded over a short stretch of festival dates the band was playing amidst the summer of 2014, Blur (featuring the return of Coxon for the first time since his outing amidst the 2009 "Think Tank" sessions) have returned with "The Magic Whip".  Pensive and subdued, "Whip" plays cool and confidently; the sound of a band that has eased into its own self-awaredness with pomp and bravado.  The textures and production from years of record-foraging and sideprojects is there, but the fretwork is much more restrained than their younger years- this is a band that has come of age with grace and dignity.

Grab YOUR copy of Blur's "The Magic Whip" RIGHT HERE!

Built To Spill- "Untethered Moon"

There has been a dearth of Built To Spill in the record bins for six years. 2009's "There Is No Enemy" was decidedly a hit among Built To Spill fans and die-hard advocates of janky 90's guitars, their reach as a band has seemingly tapered in the last decade (due, in part, to their constant disbanding). Formed in 1992 by frontman Doug Martsch, their latest offering- "Untethered Moon" is consistent Built To Spill at it's finest.  The hooks and earnest songwriting is there, the fuzzy choruses are also in check- it's hard not to beat the alternative 90's mainstays, their undeniable ability to out perform the myriad of bands that have tried to cop their style is insurmountable.  "Untethered Moon" is a true testament to the longevity of a band that relentlessly releases albums at their own accord, just as well as the day they started.

Get your copy of Built To Spill's "Untethered Moon" RIGHT HERE!

Martn Gore- "MG"

Martin Gore, one of the pivotal founding members of Depeche Mode, has never been an outward artist- his calming demeanor and elegant tone has always been balanced by an extremely prolific output and modest presence.  The man responsible for penning some of Depeche Mode's most popular hits, Gore seems to have a restless side; spending at least five days a week in his studio crafting songs.  With a resume of writing credits and Mode responsibilities, he's also managed to release albums with Vincent Clarke under the name VCMG and his recent solo album, "MG".

Devoid of any vocals, "MG" is a synth-laden science fiction opus of midnight movie fare at its finest.  There's hints of Depeche Mode formula throughout, but Gore manages to craft something individual of his roots- a moody soundscape of otherworldly instrumentals and film score musings akin to the likes of early M83 or John Carpenter soundtracks.

CLICK HERE to grab your own copy of MARTIN GORE's "MG"

Jon Spencer Blues Explosion- "Freedom Tower"

There's rock n' roll & there's JON SPENCER'S ROCK N' ROLL. Conceived in the early 90's as a brash response to the over-abundance of flannel-drenched Seattle offspring, Spencer's trio of amp-murdering partners in crime have churned out 12 albums of no-nonsense blues rock with swagger to spare.  Their unique brand of cantina-strut and noir cowboy delivery completely avoided the mid-2000's garage rock revolution of NYC (partially due to their having been a unit years prior and mainly because of their unabashed level of authenticity).  Their latest offering, "Freedom Tower (No Wave Dance Party 2015)", is no exception.

Found somewhere in the bottom of a bin in the last record store in the gutters of NYC, the remaining article from the apocalypse could easily be Spencer & Co's love letter to their dying city.  Dipped in their patented blues-tinged grooves and almost hip-hop-worthy bareback backbeat, the album never waivers from its ability to capture the manic energy of their hometown grime.  Vocals echo and punch like a coked-out Elvis Presley, while dodging any semblance of introversion or sensitivity currently riddling modern "rock" effortlessly. This is Saturday night music for the patron saints of the weathered weekend warriors.

CLICK HERE to get your own copy of JON SPENCER BLUES EXPLOSION's "FREEDOM TOWER"!

The Prodigy- "The Day Is My Enemy"

The Prodigy burst onto the Essex-driven rave scene in the early 90's with its bombastic big beat thrust and rock n' roll swagger.  Unlike their e-chewing electro contemporaries, their sound was brash, almost punk in both aggressive energy and execution.  From their debut, "Experience", a hodge-podge mash of stadium-dance delivered with crippling machine gun accuracy to their 1996 smash hit album "Fat Of The Land" (whose singles "Firestarter" and "Smack My Bitch Up" broke stateside to even the mainstream rock radio zeitgeist)-- Prodigy carved a niche for themselves through the panache and swagger of sheer energy.  Following a brief hiatus for a handful of years, the band reformed to release "Always Outnumbered, Never Outgunned" and "Invaders Must Die", both of which arriving to mediocre enthusiasm both stateside and abroad- the key criticism being that the group had lost the edge that sliced its way ahead of their peer.

2014's "The Day Is My Enemy" is relentlessly a return to form for The Prodigy, with a violent and visceral collection of new songs that sound like they could have easily been recorded amidst their "Fat Of The Land" heyday.  There's no punches being pulled here-- reformed, rejuvinated and clearly out for blood.  The synths blast like punk guitars, members Keith Flint and Maxim deliver paranoia-spewed vocals with snarled viciousness, and every drum hit socks like a punch to the skull-- THIS is The Prodigy you knew and loved.

Grab YOUR copy of The Prodigy's "The Day Is My Enemy" RIGHT HERE!

Kendrick Lamar- "To Pimp A Butterfly"

Kendrick Lamar achieved a rarity in the world of modern hip hop with the release of 2012's "good kid, M.A.A.D. City"-- he gained a fervent mainstream following without the sacrifice of his ideals or integrity.  His major label debut (a humble and strong elevation from his previous mixtapes and indie releases) was a focused and deliberate examination of the characters and surroundings of the world that birthed him, Compton.  Not since the early 90's of NWA or Public Enemy has a rap artist balanced cathartic self-awaredness with rapidfire, unapologetic lyricism.  Lamar's songs often ring out like short stories, embracing the chaos of his environment and turning it in on itself to inform the listener; transcending genre with each progression.

Lamar's latest offering, the aptly-titled "To Pimp A Butterfly", embraces the catharsis of the previous with the social relevance and confident restrain of a street poet.  Accompanied with minimal studio gloss and the live instrumentation of a subtle jazz trio, the album boasts an immediacy severely lacking in the braggart culture of radio rap.  Throughout the album, Lamar dredges the lake of current events without ever standing on a soapbox- he simply asks the questions, hoping that the listener will vacillate on the myriad of possibilities.

Grab your copy of KENDRICK LAMAR's "To Pimp A Butterfly" by clicking RIGHT HERE!

Twin Shadow- "Eclipse"

Twin Shadow, otherwise known as enigmatic frontman George Lewis Jr., came onto the scene in 2010 with his debut "Forget". Coated in Morrissey-worthy earnesty and textural new wave synths, Lewis established himself as the soft-crooner for the broken-hearted.  His follow-up (2012's "Confess") forged onward through his previous patchworked laptop opuses toward a more cohesive pop-centric full-band execution.  At its strongest moments, "Confess" conjures nostalgia for cheeky 80's radio darlings and new wave leanings- so much so that you'd swear you were listening to a cover band. Which is what makes his latest offering so seductive.

"Eclipse", Twin Shadow's major label-debut is strikingly more contemporary than it's predecessors- embracing the vintage-tinged melodies and retrofitting the production without losing any of its aesthetic.  Boasting confident (and occasionally anthemic) choruses and Lewis' patented bedroom-eyed hooks, the album is arguably the group's strongest and most accessible album.

Grab your copy of TWIN SHADOW'S "CONFESS" by clicking HERE!

Noel Gallagher's High-Flying Birds

Noel Gallagher, rather that guy (gruff brother of Liam Gallagher) from that band (Oasis, in case you don't recall the nineties), has the subtle art of aloof and cool disinterest down to a fine science. Since his days in the Britpop powerhouse Oasis, the elder Gallagher has proven a keen, albeit entertaining view of the music industry and its myriad of benign disfunctionalities- which makes his integral involvement in one of the biggest bands of the last twenty years something of puzzle. This is a man who can play the game, with little to no interest of the outcome- his content comes from shuffling on- which could explain the majority of his work with High Flying Birds.

Formed within a year of the conclusion of Oasis, High Flying Birds became an output for Gallagher to explore his less obvious sensibilities found in the later-day output of the former band and drift toward "more personal" work.  The High Flying Birds' self-titled debut was just that- a confident and direct guitar pop album embellished with strings and horns throughout, a calm reminder that Gallagher wasn't just "that guy" from "that band".  With the 2015 release of the band's second album, the aptly-titled "Chasing Yesterday", Noel provides us with more of the expansive intimacy of the first- but with a little more insight. The songs are lush in scale (thanks to Gallagher self-producing the entire record) and seem to meander through musings of age and relevancy subjectively. While it's hard to deny some of the hookiest leanings of Oasis in their hey-day, Noel's work is strikingly self-conscious when he steps out of the shadow of his former self.

Buy your copy of NOEL GALLAGHER'S HIGH FLYING BIRDS' "CHASING YESTERDAY" Right HERE!

Purity Ring- "another eternity"

Since the great divide between Top 40 radio and the more nuanced college playlists- there aren't many acts that can straddle the aesthetics of both worlds. Enter Purity Ring- the electronic dream pop duo of Megan James and Corrin Roddick.  Formerly members of the band Born Gold, the two began recording demos soon after Roddick investing his time into formulating electronic compositions.  Within the first couple months of inception, the two had formulated what would inevitably become their debut album "Shrines".  Culling together dance beats with irreverent, minimalist bleeps and bloops as the undercurrent for James' ethereal nightengale croon, Purity Ring's signature sound could easily be the bridge between radio pop and indie darlings.

Their latest endeavor "another eternity", captures the strengths of the duo's debut with a glossier sheen. While not a distinct departure from their initial work, the production does contribute to a fuller, more heavy-hearted album sonically. James' lyrics seemingly carry the weight of the world with the well-intentioned synth backing her elegantly- if this is the future of pop music, we can eagerly anticipate their next move.

Grab your Copy of Purity Ring's "another eternity" RIGHT HERE!

Gazelle Twin- "Unflesh"

Amidst the current electronic music landscape, there doesn't seem to be a dearth of innovation-- more so, varying camps of exploration and sub-genre classification that almost cripples the output. Mainstay acts either push the medium to glitch-based machine gunning percussion or glacial synthwave textures and the two often don't find common ground; enter Gazelle Twin.  Comprised solely of Elizabeth Bernholz (née Walling), Gazelle Twin has evoked a favorable critical following-- thanks, in part, to her art house approach and outsider execution.  Her debut album, "The Entire City" was a sweeping spectacle of dance-textured mathematics, truncated amidst violent drum blasts of precision; the sort of production that has remixed John Foxx and a myriad of Brit-based techno acts.

Bernholz's recent output, "Unflesh", pushes the soundscapes explored in her previous efforts- but to a much more focused and aggressive degree.  The lyrics are bare-bones and direct, sparing us misinterpretation amidst the frenzy of patchworked chaos and calm (which are often simultaneous in one song).  The album could easily stand against the discography of The Knife while still inviting the minimalist fans of later-day Plastikman, a definite stepping stone between contemplative post synth and the forward momentum of modern EDM.

Click here to get YOUR COPY of GAZELLE TWIN's "UNFLESH"!

A Place To Bury Strangers- "Transfixiation"

There's no denying how easily Brooklyn has become one of the more enigmatic creative hubs in the country- throw a brick through your standard-issue SXSW beer tent and you're bound to hit six bands from the borough.  Understandably, it's become overrun with "next big thing" hopefuls and gentrified angular-pop that you've come to expect from any metropolitan freak-factory, but with that also comes the disappointment of the inevitable "too much of a good thing" plethora.  Which is what makes A Place To Bury Strangers a noteworthy band- being the most un-Brooklyn of the Brooklyn bands to make a splash.

Their self-titled debut introduced us to a bang that loved guitars- letting them dredge canals of feedback and distortion louder than their shoegazing forefathers; this was a band that could make a car crash sound as if it had longing.  Over the span of 4 albums, APTBS have gradually found the perfect blend of 80's goth sensibility, Wire-worthy post-punk and distorted bliss that have culminated in their recent outing, "Transfixiation".

Bridging the gap between their earlier soundblast, noise-punk debut and the refined gloss they explored on their previous album, "Worship", their latest album seems like a band readying for their next move; doing what they do best by tepidly exploring new sounds while calling back to their nostalgia. Whatever the future may hold for the members of A Place To Bury Strangers, "Transfixiation" could easily be the album reflected as a turning point in years to come.

Click HERE to get YOUR copy of A Place To Bury Strangers' "Transfixiation"!

John Carpenter- "Lost Themes"

The films of John Carpenter have become one of the foundational blueprints of modern blockbuster filmmaking; everything from his camera framework to intensely captivating lighting has been fervently imitated on screen. Movies like The Thing, Escape From New York, Halloween or The Fog have a unifying utopian execution of the pop arts that have left an indelible mark on how cinema is made. His work, often held in cult classic reverence has one undeniable unifying theme- in a literal sense- the scores Carpenter himself composed for the films.  Sculpted with layers of classic synth tones which he utilized at face value (no effects or orchestra-imitating patches here)- the soundtracks themselves have become so intrinsically integral to the modern soundscape, they manage to stand on their own as essential instrumental works.

With a handful of years under the radar and rumors of an alleged retirement from filmmaking, Carpenter's latest endeavor is a surprising departure and a welcomed addition; an album aptly-titled "Lost Themes".  At 9 tracks, John Carpenter's debut album is the soundtrack to the best John Carpenter movies NEVER made. True to his patented tone, he keeps his synthesizers sounding like synthesizers- at their most menacing and eerie, with assistance from his son Cody Carpenter and fellow composer Daniel Davies.  Each score (because the word "song" lacks the ability to encompass the sonic worldbuilding going on) shifts tonally throughout and often dramatically, but much more intensely than in his legitimate film scores- it's evident that "Lost Themes" is a passion project and an immensely engaging one as well!  With a soundtrack this good, you practically don't even need a movie to accompany it.

Get YOUR copy of John Carpenter's "Lost Themes" HERE!

Caribou- "Start Breaking My Heart"

 

Canadian-bred electronic composer Dan Snaith, or Caribou as he's known to music press, recently released his seventh album (the celebrated "Our Love") earlier this year to much-deserved accolades.  Snaith's earlier work however, is also finally reaching a wider audience- thanks to a vibrant reissue of his debut album Start Breaking My Heart. Originally released in 2001 under his initial moniker "Manitoba" (he was forced to change it after former Dictators lead singer Richard "Handsome Dick" Manitoba threatened a law suit), Heart is a pensive and melancholic ride through light organic instrumentation and Boards Of Canada-tinged synths.  The results are smooth hybrid of glitched electronics and effortless jazz tangents that could easily intrigue both the most hard-nosed Verve Records aficionado or a chill-room dance recluse.

The rebranded reissue is a noteworthy companion piece to this years "Our Love", featuring an additional disc of nearly an album's-worth of material from his earlier works.  Since this breakthrough 2001 release, Snaith has received numerous awards including the prestigious Polaris Music Prize and a Juno Award for 2011's "Swim", and he continues to produce breathtaking sonic works in a modestly prolific pace.  

Get YOUR COPY of CARIBOU'S "START BREAKING MY HEART" HERE!!!

Marilyn Manson- "The Pale Emporer"

Allow us a moment to reminisce without anyone casting any aspersions; for all intents and purposes we SHOULD be talking about those new Aphex Twin EPs or perhaps that new Belle And Sebastian if we knew what was good for us (and our record store "cool points")- but today we have to pause and reflect on Marilyn Manson. Years before Miley was leading the armies of selfie-addled tweens, an almost-comically misanthropic, androgynous ghoul named Marilyn Manson was shocking parents throughout the tail-end of the MTV generation. Often self-aggrandizing to the role of villainy in any of his incarnations, Manson's garish brand of obtuse "shock" rock has remained a constant tent pole in mainstream alternative rock.

Since his 1994 debut, "Portrait Of An American Family", Manson's slowly descended from the role of a manic teenage spaz-demon to that of an idiosyncratically aged vampire on his recent "The Pale Emperor". As The Pale Emperor himself has become fervently reclusive and private, so has his music- the oversexed guitars and tribal percussive thrust is still there, but it now sludges under the weight of the world, trudging like a one night stand thanks to Manson-newcomer/collaborator Tyler Bates (whose work as a film composer recently scored box-office blockbuster Guardians Of The Galaxy). The rage of his younger self has slowly dissipated into the fog of disappointment and disdain of adulthood and the results are intriguing to say the least.

Grab your copy of MARILYN MANSON'S "THE PALE EMPEROR" HERE!

Jellyfish- "Bellybutton"/"Spilt Milk"

 

When well-to-do, in-the-know, record store counter jockeys debate the musical impact of the nineties (after they collect themselves from laughing) they'll smarmily namedrop the staple indie rock darlings that emerged and the inevitable rise and demise of grunge.  However, amidst the frantic rush of trapper keepers and Bush administrations was a subtle and engaging power-pop resurgence, at the forefront of the movement was a little band called Jellyfish.  The brainchild of Jason Falkner, Roger Manning, and Andy Sturmer, Jellyfish existed in a pop bubble of hook-driven, bubblegum choruses and drew from a pool of influences that ranged from Queen to XTC to The Beach Boys.

Releasing only two albums from 1990 to 1993 ("Bellybutton" and "Spilt Milk", respectively), the band quickly dissolved due to creative differences, the members going on to become staple players behind the scenes in modern pop production.  With over a decade since the release of their prominent works, both albums are finally available in a deluxe dual-disc special edition format.  Each reissue contains the albums proper and includes a myriad of supplemental material including b-sides, rarities, demos and live versions that are finally seeing the light of day. The perfect way to discover or rediscover a true hidden gem.

Get your JELLYFISH reissues RIGHT HERE!

Mark Ronson- "Uptown Special"

Nostalgia could easily be categorized as a genre in these ever-changing modern times; the rate at which quality new pop music is released and radio filler clutters the racks is almost neck and neck. Enter the black sheep: Mark Ronson.  The dial-tuner behind some of the decade's favorite darlings, including Kanye West's "Jesus Walks" and Amy Winehouse's "Back To Black", Ronson has made a conscious effort to craft layered, catchy pop songs that evade easy categorization.  His recent release, "Uptown Special", is no exception.

Relentlessly harkening back to Stax-era funk and jive street shuffle grooves, "Uptown Funk" succeeds at creating a vacuum of radio nostalgia that is severely absent from the charts today.  With it's modern guests spots in tow (you've probably already heard the single with Bruno Mars enough) and the reverence for its roots planted firmly (Stevie Wonder and his patented harmonica hues are ever-present and welcomed), the album embraces its time capsule mission statement. In the hands of another producer, the result could have been a mixed bag of kitsch and eye-rolls, but Ronson succeeds at making his beloved era of music shine with his glossy, modern production. Similar in retro-futurism to Daft Punk's "Random Access Memories", "Uptown Special" delivers relevant pop charm with strong roots to the past.

Get your copy of Mark Ronson's "UPTOWN FUNK" HERE!

Public Service Broadcasting- "Inform Educate Entertain"

Public Service Broadcasting is deliberate retro-futurism; the sound of a time capsule being strewn across the ether.  Existing as a science project foremost, PSB's mission statement of "teach the lessons of the past through the music of the future" rings true amidst its well-cultivated collection of antique radio broadcast samples and krautrock stylings.  Equal parts Kraftwerk with guitars and saturday matinee film strips with breakbeats, there are moments this band serves as a self-narrative- using their arsenal of lo-fi samples as lyrics.

The brainchild of one J. Willgoose, Esq., the imagery cultivated is undeniably the sum of its parts- you can imagine hours in library vaults culling over microfilm and lost transmissions to find the perfect selection to accompany the clattering math-rock implosion.  With tongue planted firmly in cheek, PSB spends the majority of "Inform Educate Entertain" escalating rollercoasters of sound and percussion with educational aplomb, and it's a ride well worth taking.

Grab your copy of PUBLIC SERVICE BROADCASTING's "INFORM EDUCATE ENTERTAIN" here!