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.

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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.

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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.

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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.

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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!