Though Got Head? is this Albany, NY punk foursome’s fourth album, it’s their first of new material in 27 years. But despite the long layoff, they’re tighter and even more propulsive now, with veteran hardcore producer Don Fury giving them a crisp, dynamic edge.

Formed in 2000 by singer/guitarist Dennis Mitchell and guitarist Craig Stahr, this Portland, OR outfit is joined on this fifth LP by bassist Scott San Filippo and drummer Curt Schulz, who markedly tighten up their sound over 2017’s Another Moment in Time.

Having dug Buffalo, NY singer, guitarist, and keyboardist Bill Nehill’s “art blues/avant country” duo The Guilty Few with Cory Nealon, his longer-running synth-pop/darkwave pair-up with electronics wiz Ed Hallborg — also known as Pieces N/H — is vastly different.

My past reviews of Boston’s reliable, elusive Physarum have described his songs as “spartan and unlabored, yet fully-conceived and inviting despite their fleeting timespans” and “ample, punchy and engaging.” That holds true for the 20 on these two LPs as well.

Born in Wheeling, WV and raised in the dingy, long-gone Welcome Mat trailer park in Pensacola, FL from 1968-88, Atlanta-based (via L.A.) Americana/blues-rocker Mixon’s double LP is a sprawling memoir of growing up there, and his life afterwards.

Having enjoyed Seattle singer, guitarist, and pianist Livesay’s five-piece The Civilians, it’s not surprising to find his new outfit equally palatable, even if his other band’s layered, three-guitar sound has been replaced by a grittier, harder-rocking attack.

Though their ninth LP since 2006 veers further from their older Shoes/Records/Nerves power-pop formula than 2021’s Phooey! did, singer/guitarist Patric Westoo’s New York group is still as melodic and upbeat as ever.

Martha’s Vineyard, MA-based folkie James first caught my ear backing former Family Circus/Plum Nelly roots-rocker Billy Stoner on his engaging “lost” self-titled 1980 solo album, issued by Team Love in 2017 along with her own 1979 At Longview Farm and 2016’s When You Get Old. Now 74, her luxuriant voice has lost nothing in 45 years.

Rarely are solitary musicians recording albums at home sans others as talented as Buffalo, NY’s prolific James Froese; unlike 2023’s Patterns, whose second half was solo acoustic, on this third LP he replicates a seasoned alt-rock/emo band throughout.

Originally a duo of Miss Massive Snowflake leader Shane de Leon (guitar/drums) and visual media artist Jon Lodge (trumpet/electronics), this Billings, MT-based experimental free-jazz/noise group has added bassist Monte Allen, of Portland, OR’s Rollerball.

Those who know Lawrence, KS-based Grauerholz as the manager, bibliographer, editor, literary executor and companion of famed writer/artist William S. Burroughs may not be aware that he’s also an adept musician and songwriter. This surprisingly consistent 21-song collection spanning 30 years is a welcome introduction.

This Albany, NY alt-rock foursome’s follow-up EP to 2023’s impassioned second LP Suburban Mayhem is the first of a planned music industry-themed trilogy; all four songs are vigorous and exhilarating.

Formed by singer/guitarist Neil Sabatino as a solo project in 2001, northern NJ’s ever-changing Fairmont now boasts six members; the seven-song I Wish I Was Stupid is their 13th album.

On the follow-up to their 2021 debut LP Undressing Minds for Show, this Philadelphia alt-rock quartet sheds some of the U2 and R.E.M. comparisons of past reviews.

With an abundance of charisma and hooks, and a beautiful flow from beginning to end, Sonic Ranch makes a strong case as the best album of Austin, TX alternative rock trio Fastball’s long and distinguished career.

Having successfully followed up their spirited, tuneful 2017 debut LP Cake + Flames with 2022’s much-improved, more deeply produced Sweet Thing, this Charlotte, NC foursome continues to impress on these two flavorful singles.

Long Island-raised, Los Angeles-based multi-instrumentalist Pearson’s latest LP is the third in a series of “Dark Americana” albums which began with 2020’s Dark Americana: Stories and Songs and continued on 2021’s Mojave.

Calgary, Alberta’s classically-trained, award-winning Hickli possesses a beguiling voice that flabbergasts on first listen; though stylistically poles apart from Hickli’s solo side, Calgary art-rock/electro-pop quintet 36? is captivating in its own quirky way.

Though Richmond, VA’s Barry reunited in 2019 for shows with Avail, the punk band he fronted from 1987-2007, he still releases quieter folk albums; this is his eighth studio LP since 2006.

Following 2008’s Crawler and 2009’s Dead Tongues, this punishing Cincinnati, OH post-punk trio put out a handful of split releases from 2010 to 2017; here finally is their third full-length.

Hendersonville, NC-based Robinson is a British ex-pat who played in Roger McGuinn’s touring band, and Woltil is a Tampa Bay, FL resident who fronts power-poppers The Ditchflowers; this is their second combined effort sharing lead vocals, following 2015’s Cycle.

This Seattle five-piece’s first two albums, 2019’s Over the Bar and 2020’s Straight In/Straight Out so wowed Elvis Costello’s Attractions and Imposters keyboardist Steve Nieve, he supplied alluring piano to this third LP’s soulful ballad “Harder Than the Truth.”

Shelkett’s career in the Baltimore emo scene goes back 30 years, having fronted and released albums with Blank, Cross My Heart, Dead Red Sea, and Liars Academy; this debut solo LP was produced by hardcore/punk vet J. Robbins.

On their eighth album, this Auburn/Finger Lakes, NY outfit, led by husband and wife co-lead singers Terry Cuddy and Beth Beer, further sharpens the stylistic breadth shown on 2019’s Sleeping World.

Based in Lille, France, this duo of Lola (singer/guitar/bass) and Alex (bass/guitar) worked in video production at the Academy of Cinema; since 2020, they’ve been releasing singles of their narcoleptic, sinuous dreampop, a dozen of which are collected here.

Discovered in 2005 at age 17 by Trent Reznor — she’s opened three Nine Inch Nails tours — L.A.’s multi-talented Carré Callaway (who’s also an actress, sculptor, podcaster, and skincare product founder) has released three albums as Queen Kwong.

Most notably the bassist in the reformed lineup of Psychic TV from 2003-2020, Hoboken, NJ-raised Alice Genese now shares lead vocals in this Asbury Park-based outfit with Pretoria, South Africa pianist/artist Shaune Pony Heath.

Singer/keyboardist Joe Darone, once the teen drummer of Totowa, NJ’s The Fiendz and later for New York City’s The Rosenbergs, follows up 2020’s fifth LP Hide and Seek with this spirited two-song digital single.

On the heels of brawny-voiced Atlanta singer/guitarist Adam McIntyre’s three 2020 solo LPs and his foursome The Pinx’s Electric! EP the same year comes that group’s fifth LP, following 2019’s Sisters and Brothers.

Following 2021’s red herring electronic/ambient sixth LP XI: It’s the Future, Kansas City, MO’s Suneaters return to their familiar hard-rocking ways on this seventh.

Not surprisingly, the “chilling mood-pop, as strangely still as David Bowie’s Low and Heroes, side twos” of Seattle outfit Blue Grass’s 2021 third LP Jardin des Étoiles is present on this similarly “jardin”-titled fourth.

One listen to this mesmerizing fourth album was all it took to become hooked on Dallas instrumental guitar virtuoso Hewitt’s dexterous and highly melodious style of flamenco playing.

Unlike larger, more prodigiously-attended Real Estate shows, this more intimate setting allowed one to focus attentively on Courtney’s exquisite singing and guitar playing, and to better appreciate his delectable songwriting flair.

While this follow-up resembles its predecessor Dark Americana: Stories and Songs in mood and style, it feels more ambitious and expansive, with intricate arrangements that conjure Ennio Morricone’s spacious, evocative spaghetti western soundtracks.

This New York City-raised singer/songwriter’s new single is more in the vein of the hushed, Nick Drake-like folk displayed on her 2021 Not Yet EP, but with a rustic, down home alt-country/Americana feel.

Like his first three “Black Cat Trilogy” LPs, Missoula, MT-based Henderson K. Shatner’s fourth album as Catnyp is wildly unpredictable and varied, so much so that no two songs sound alike.

Though Kansas City foursome Knife Crime has been together a decade, Lovely is only their first LP. But founding brothers Byron and Brad Huhmann, Jeremiah James Gonzales, and Jake Cardwell have honed their skills in 16 bands between them.

On album #2, Lawrence, KS trio Chess Club sharpens their songwriting and attack – and ditches the sporadic lapses into screamo – over 2018’s haphazard Hit the Ball.

Knoxville, TN singer, guitarist, bassist, and keyboardist Jared Colinger began The Enigmatic Foe with 2005’s self-recorded The Titular Project; having since expanded to a full band, this 14-song double LP is their fifth album.

With only three solo LPs since 2001, this June 12, 2021 Record Store Day EP from Winston-Salem, NC singer/guitarist Foster (ex-Right Profile/Carneys/Pinetops) is welcome.

I dug Portland, OR noise-pop foursome The Honus Huffhines’ 2014 second LP Feel Safe, Be Safe; named for a put-down line from The Office UK, The Swindon Lot is their singer/multi-instrumentalist Andy Giegerich’s solo project.

Throughout Zombification, Nashville-based, Minneapolis-raised singer/songwriter Oliver flails and massages his contorted, misshapen acoustic, while his distressed, rasping vocals sound like he’s having a hallucinogenic acid trip.

Not an actual person, Philip Goth is the moniker for the new project of Josh Rawson, former bassist of folk-rockers The Felice Brothers; this debut was recorded by him in Philmont, NY over three years.

Formerly the drummer in The Comas, and currently in indie rock quintet North Elementary and improvisational guitar/electronic duo Tacoma Park, Carrboro, NC’s John Harrison also makes solo albums as Jphono1.

On his first solo LP, Seattle’s Brisbois abandons the blasting guitars of his ‘90s roots-rock outfit 4 Ft. Ramona (he’s also been in The Buckets, Acme Band, and Lava), for something drastically more hushed.

Having recorded 2018’s Sixer EP as a trio, these Brooklyn shoegazers are pared down to their core duo of Ian Carpenter (vocals/guitars) and Rachel Fischer (drums) for this debut full-length.

It’s been nine years since Boston-raised, now St. Petersburg, FL-based singer/pianist Sheveloff released his 2012 solo debut Exhibitionist. But this sublime second studio LP more than justifies the long wait.

Following up 2018’s Proper EP, this Philadelphia foursome (whose moniker was the original name of Ardmore, the Philly suburb where they first rehearsed) sound even more inspired and imposing on this debut LP.

It’s been five years since this eccentric outfit released their fifth LP The Final Photograph, yet their former strangeness hasn’t waned.

Prolific Minneapolis singer/guitarist Israel’s 16th LP since 1998 dispenses with some of the previous album’s diverse, uncharacteristic stylistic progressions in favor of a more consistent, unwavering approach.

Like their similarly discordant label and city mates Sass, Partition is another cogent and youthful Minneapolis band, whose first album’s pummeling, convulsive queercore mines a different side of the noisy rock coin.

Originally released as a limited edition cassette in May 2019 by Heavy Meadow Records, the debut full-length by this youthful Minneapolis noise-rock quintet gets a welcome vinyl issue from MPLS Ltd.

Singer/guitarist Caflisch (AKA Matt Young) was previously in Eau Claire, WI’s Venison, Minneapolis’s ÜberScenester and J.U.L.P., and L.A.’s Hard Luck Country Club; his sincere, affable folk-pop is enlivened by his vivid words.

Those unfamiliar with NYC-based Root’s seven albums with his bossa nova/Brazilian pop bands A.M. Sixty (or AM-60) and The Mosquitos might be taken aback by his whimsical, guileless lyrics on his first solo LP.

Rogers & Butler is Birmingham, UK-born, NYC-based Edward Rogers, who has released seven top-notch solo albums, and Stephen Butler, frontman for New Jersey power-pop bands Smash Palace and Quincy.

Based in Oklahoma City and Seattle, former college buddies Wil Norton and Danny Davis crafted this second LP (following 2015’s Golden Year) remotely, in between their attorney and software engineer day jobs.

On his third LP, Boston-based singer/drummer Baldrachi moves away from the power-pop that dominated 2012’s Back to the Start – first released in 2011 as Tomorrow Never Knows – and 2006’s Solid Ground.

Those familiar with this Queens/Brooklyn post-punk trio’s 2018 debut No Banter will instantly notice the tenfold upgrade in their attack’s tightness, speed, and muscle on this sophomore effort.

Along with RBM, Johanna’s House of Glamour, and Neurotic Cage, Underwater Kites is another of Boston-based experimentalist Bruce MacLeod’s guises, with one prior LP and six EPs going back to 1999.

Along with gruff, Glenn Danzig/Dave Vanian-evoking bellower Evil Heim, and anchored by formidable 65’s guitarist/bassist Joe Pugsley and Ryan Struck (who play bass and drums here), it’s no surprise this New Jersey horror-punk quintet sound like a Misfits and Damned lovechild.

Fans of this three-year-old Chapel Hill, NC quartet’s 2018 debut mini-album Giant will immediately notice the silkier, more incandescent stylistic shift on this follow-up four-song EP’s first two tracks.

The second LP by Pittsburgh’s Full Counts – formed by 1990-94 Gumball bassist/singer Eric Vermillion and Cynics drummer Mike Quinlan, who were both also in FOOD – is even better than their otherwise superb 2017 debut, First Out.

As he did on his 2019 debut LP Couch, Seattle’s one-man EDM virtuoso Paul Furio rotates between Depeche Mode/OMD/New Order synth-pop/new wave and tougher, Front 242/Nitzer Ebb techno/industrial on this follow-up five-songer.

Having backed Slim Dunlap, and opened for Tommy Stinson, it’s no wonder High on Stress evoke the rootsier side of hometown legends The Replacements; frontman Nick Leet’s emphatic, twangy drawl even conjures Paul Westerberg.

This three-songer blasts even harder than their 2017 “Wolves and Men” 7”, enhanced by the addition of second guitarist Ed Roessler to an already intimidating lineup of Joe Pugsley, Ryan Struck, and John Steele.

Behind her impassioned, one-of-a-kind voice and idiosyncratic songs, Helsinki, Finland singer/guitarist Jokelin’s solo debut Kaamos has a distinctive ambience that is enticing and transcendent.

This Queens, NY quintet’s fifth album dispenses with the too-conventional, leisurely-paced country/roots-rock that dominated their last LP, 2015’s 3 Shots, in favor of more buoyant, vivacious playing and arrangements.

Mastered by Frank Arkwright at the famed Abbey Road Studios in London, this Escondido, CA-based foursome’s seventh album sounds more robust, expansive, and sonorous than their previous six.

Aided by 16 guest musicians, this Chicago troubadour’s third solo album adds plenty of new stylistic wrinkles to the homespun, Wilco-esque alt-country of his 2014 II and 2011 Archive + Spiral.

Aside from his familiar trill, the hushed, homespun folk Helsinki’s pleasantly-voiced Palonen fashions on TP is far removed from his previous outfit Kuparilinna’s punchier, ‘60s-inspired indie pop, surf, and psych-rock.

It’s been five years since New Jersey native Rose’s last album, 2013’s sumptuous Stars, Stripes, and Milestones. But boasting livelier and more luxurious production and arrangements, this self-titled sixth LP outshines it.

This follow-up to 2014 second LP Need to Feed finds this Providence, RI art-rock trio – fronted by likable, lovely-voiced lead singer and keyboardist Roz Raskin – still pursuing an unconventional approach.

Philadelphia-based Harvey makes mellower music than most of punk label Chunksaah’s strident, speedier-playing signees. But his moderately tempoed folk-rock is plenty resonant and robust.

This esoteric New Haven, CT art-rock duo consists of guitarist/keyboardist Paul Belbusti, also of prolific psych-folk outfit Mercy Choir, and drummer Michael Kiefer, of weighty sludge-rockers Myty Konkeror. However, Rivener sounds nothing like their other bands.

Listening to this New Haven, CT piano-fronted trio’s debut album, it’s hard to fathom that their powerful-piped lead singer Laini Marenick had never sung in front of anyone until her wedding three years ago.

Like a tape-recorded diary set to surreal, spooky sound collages, Berkeley, CA avant-garde artist Dominic Francisco’s second LP makes us feel like we’re prying into someone’s most private, painful emotions.

Born in Oxford, England, this tender-voiced troubadour expands upon the theme of his last three covers-speckled albums by re-imagining 14 love songs from his “early hero” Bob Dylan’s copious catalogue.

Compared to the more robust rock crunch of this New Haven, CT Americana/folk-pop collective’s 2014 Farther Out Beyond Today, the production and playing on Dreams is lighter and lither.

A couple of years after this Buffalo, NY outfit’s 2011 debut LP 4am, dazzling lead singer Mary Ognibene left the band. DM’s new vocalist Maria Sebastian is as breathtaking as her predecessor, and this EP’s three distinctive tunes showcase her multifarious skills.

Dubuque, Iowa’s sensual and soulful chanteuse Gloeckner doesn’t make many albums; this is only her third LP going back to 2004’s Miles Apart, and first since 2010’s Mouth of Mars. Yet Vine is worth the seven-year wait.

Blending breezy reggae with brassier jazz/bebop, Ontario’s two-time Juno Award-nominated pianist/singer Wilson’s sixth album is a polished, ear-pleasing pastiche.

Throughout veteran L.A.-based violinist Murphy’s Red Mountain Blues, fiddle, banjo, and mandolin frolic so euphorically, you’d expect an impromptu line dance to break out any minute.

In mostly foregoes the hard-driving rock crunch of this Seattle quintet’s 2015 Chaos EP, in favor of subtler, more intricate arrangements that better accentuate the velvety and vivacious voice of frontwoman stayC Meyer.

It took seven years for this Hoboken, NJ foursome to release their first-rate 2014 fourth LP Infinite Regression, so it feels fortunate to have this follow-up come only two years later. At is another alluring album.

This Long Island, NY/Maryland-based “space drone” outfit is fronted by two hypnotic female singers, Neptune Sweet and Sharon Malkin, the latter crooning in Hebrew. With subdued beats and celestial synths, Shin is a soul-purifying, inner peace-producing pleasure.

With its stratospheric synths, encircling guitars, battering ram drums, and baleful, bellowed vocals, Overseas is a revitalizing return from this strapping synth-punk outfit.

Following the indistinctive alt-rock direction and too-polished production of their 2014 fifth LP, Do Not Engage, this Vancouver drums-and-guitar duo’s sixth LP is their most exhilarating, explosive album to date.

I’m not sure what prompted former United States of Existence/The Jigsaw Seen drummer Schwartz to reissue this upbeat, Supertramp/Hall & Oates-like 2014 digital single as a 7”. But I still “really like” it.

Despite drummer/founder Joseph Joseph’s replacing of departed keyboardist Molly Pamela with bassist Nicholas Gunzburg as this Cleveland experimental duo’s “other half” in 2015, Junk is as spastic and strident as their previous releases.

Shoulder and hand injuries have shelved Atlanta guitarist Richard Coker’s punk and folk career, but his instrumental synth LPs keep coming – Fey is his eighth since 2012.

I described this 20-year-old Columbus collective’s 2009 second LP More Fiend as “ominous, trance-inducing space-rock, with hints of metal, psychedelic, and Eastern influences.” That could similarly sum up this new six-song, 43-minute fourth.

For those still tentative about diving into this atypical, atmospheric Bristol, PA trio’s 2016 fourth LP This Gilded Age, this double A-side 7” of two of its tunes is a tempting toe-dip.

Birmingham, AL’s Remy Zero released three major label LPs during their original 14-year run, before disbanding in 2003. This new trio comprises two original RZ members, along with their touring guitarist/drummer, and preserves RZ’s penchant for brawny alterna-rock.

Texas-born-and-bred Bell again avoids modern country clichés on her fifth LP, and first since 2010’s Perfectly Legal: Songs of Sex, Love and Murder.

On this hard-hitting new single, about serial killer Aileen Wuornos, London’s provocative, powerfully-piped Distras breaks free from stringent punk structures. It blends a ‘60s British Invasion/Merseybeat and girl-group sound with more contemporary, crunchy power pop.

I swooned over this fetching Chicago foursome’s “buoyant, shimmery” 2014 second LP Restless Hearts, which followed up their heftier 2010 debut The Spell of Youth. But Beneath manages to best them both.

On their 2015 first LP, I heard “Sonics/Shakers-inspired garage rock, Shellac-styled industrial/post-punk, and SLF Inflammable Material-era punk” in this college-aged Nashville band’s sound. That’s still accurate, as Teal contains many of the same characteristics as the full-length.

St. Paul, MN-based Bonar’s follow-up to her 2014 sixth LP Last War is even better, featuring more focused and finely-honed playing. As well, its arrangements are alternately aggressive and atmospheric, thanks to Bonar’s brawny and buoyant backing band.

This New York duo’s dreamy covers of these two familiar classic-rock staples are so assiduously crafted, and Eleanor Kleiner’s singing so stupendous, it’s like you’re hearing each song for the first time.

You might question the wisdom of a Helsinki band securing U.S. distribution for a debut LP sung entirely in Finnish. But one listen to this distinctive, charismatic two-year-old quintet, whose name translates in English to “Copper Castle,” and you’ll be captivated by their countless charms.

France’s forceful foursome Heming Wave have now morphed into this trio. However, the brash and bracing U.K. Britpop influences that Heming Wave invoked have been sidelined in favor of a more strident, stentorian style.

The echoed, East River Pipe-evoking bedroom recordings on Eric Bates’s one-man Turnsole’s self-titled, early 2016 debut are more defiantly delivered on this way different follow-up, an “abstract look” at the life of France’s tragic teen Joan of Arc.

The Firehouse 12’s pin-drop, church-quiet ambience and an attentive, breath-holding audience allows Sheveloff’s twinkling, deep-toned piano trilling and romantic, robust voice to register more prominently than on his previous platters.

Given that this sophomore LP from this Houston foursome deviates in so many directions from their 2014 “Some Change” two-song 7” single, it’s not a stretch to surmise the band’s status as hard-to-pin-down chameleons.

Every song on Minneapolis singer/guitarist Israel’s 13th LP Dan delves into the details leading up to or resulting from his divorce, while generally touching on the trivial but telling warning signs that can sour romances.

At nearly an hour in length, Hobbitozz is an ambitious rock opera/fairy tale, which this San Francisco prog-rock quartet claim is the “first in a multi-part series of psychedelic sci-fi/fantasy rock albums.”

Unlike NYC roots-rocker Mark’s previous seven with longtime backing mates The Van Dorens, Stowaways veers from the group’s signature barroom blues and country-rock style.

Named for a 1972 Isaac Asimov novel, this Seattle trio’s second album dabbles in plenty of that decade’s music styles – most notably its soul/R&B, funk, and disco – even more than on their 2014 self-titled debut.

With the exception of singer Dan Greene’s drowsy, deliberate drawl, this New Haven, CT foursome’s fifth full-length sounds almost unrecognizable from 2010 double LP Apple Mountain’s spooky, lo-fi campfire folk.

On his ninth album as the one-man DiS, Derrick Stembridge dispenses with the “intricate, pulsating, and ear-tickling beats” that adorned previous LPs. But the absence of percussive elements is in no way a detriment.

Unlike his 2010 debut Neon Lights and its 2011 follow-up EP Acoustic Juju, each co-credited with his (then) band The Manhattan Project, Connecticut crooner Viele gets sole billing on this sophomore full-length.

If you’re in the mood for some muscular, “meat-and-potatoes”-style blues-rock, this Minneapolis quartet’s third LP is akin to seeing a show at an all-you-can-eat ribs and rotgut-shot night at your local roadhouse.

Unfortunately, this aptly-titled fourth LP is their swan song, as the Chicago foursome has announced they’re breaking up after a decade together. Their finale is no going-through-the-motions phone-in, however.

The production on this Copenhagen quintet’s debut full-length is not as crude or clamorous as on their self-titled 2013 EP, allowing you to fixate more attentively on the languid, interlocking guitars of Johannes Nidam and Jan Johansen.

It makes sense for this Bucks County, PA indie-folk outfit to reinvigorate interest in their early 2015 album Shine by spotlighting the LP’s best song for this (ironically) winter-released EP.

On The Best Part, Nashville songstress Elliott backs her silky, sinuous singing with warm electropop, ambient and downtempo music. Meanwhile, “Black Heart” is by far her heftiest, meanest song yet.

For whatever reason, Modena, Italy indie-pop practitioner Marc Ed decided to record this newest album in his native tongue. Despite my not being able to understand a lick of the lyrics, I was hooked like a famished fish on one listen.

This Fort Worth, TX outfit’s third LP finds the band veering off into uncharted, yet stylistically kindred directions, notably in the evocative, unconventional, swampy country/blues-rock that dominates the LP’s first half.

Carpe Sonum does a valuable service by reissuing this mesmerizing 2005 second LP by this Colorado electronic/ambient trio, previously a vinyl-only release on the group’s Obliq label.

On this three-songer, the NJ foursome abandons the softer side displayed on their 2013 I Got You EP, sticking with the punk-fueled style of that EP’s hottest, most hard-hitting number, “Have You Been Saved?”

This Florida roots-rock foursome’s fifth full-length is a “concept” album that focuses on British explorer Sir Ernest Shackleton’s fateful 1914-16 Imperial Trans-Antarctic Expedition aboard the ship Endurance.

On this second full-length, Sheffield, UK singer/pianist Harker is more personal and soul-searching than on its more whimsical predecessor, 2012’s The Red Room. The result is an album that makes an impact almost immediately.

This third LP places more emphasis on Phil Honey-Jones’s frenzied, feculent guitars, while featuring the six-year-old London band’s most fiery, forceful tunes to date.

If this single’s A-side is any indication, Atlanta-based quartet Love Letter displays more streamlined focus and ferocity than singer Carrie Hodge’s former band, Parade.

As this Portland, OR theatrical troupe’s peerless performance proved, glimpsing a papal motorcade was not the only way for New Yorkers to experience divine intervention on this night.

This Paris quartet’s superb 2014 debut EP Our Romance Ghost summoned the ‘90s U.K. Britpop scene so succinctly, it silenced skeptics. But My Electric surpasses it.

This Milan, Italy trio’s claim that their music “[pursues] a classic punk sound” with “alternative rock’s reminiscences” is spot-on.

With honking horns, squealing sirens, and rowdy revelers creating a headache-inducing clamor just outside the venue on busy Allen Street, the affable, angelic-voiced Rose turned cozy Rockwood Music Hall into a comforting, cathartic refuge.

With ‘90s UK shoegaze scene stalwarts still speechless from seeing Slowdive’s first U.S. shows in 20 years in 2014, Oxford foursome Ride’s announcement of their first U.S. tour in 23 years sent shockwaves spiraling even further.

The 19-year-old Glasgow, Scotland group pulled out all the stops at the historic, 6000-capacity Radio City Music Hall, with practically every song accompanied by some elaborate visual bells and whistles.

Thanks to Union Tranfer’s translucent acoustics, every one of the jagged, sharp-edged riffs bursting from the guitars of frontman Colin Newman and his younger, newer cohort Matthew Simms came through loud and clear.

Accompanied by her multi-instrumentalist husband Kit Hamon, Bombara delivered a 17-song early evening opening set that not only showcased the bulk of her 2015 self-titled third album, but plenty more from 2013’s Raise Your Flag EP and 2010’s Wish I Were You.

Compared with the page-turning novel that Brooklyn one-man wunderkind Tom Curtain’s 2014 debut concept LP/rock opera The Necromancer’s Kids was, the five-song Winter Lite is a superb short story collection.

While this Baltimore indie pop foursome’s attractive 2012 Sundowning EP was a nice appetite whetter, the band finally get around to releasing this proper follow-up entrée to their sterling 2010 debut Break Up, and it’s worth the five-year wait.

Despite the departure of this roaring Chicago foursome’s fervent singer Johnny Pierro in 2013, Saturday Night Loud is electrifying. Crucially, they’ve replaced Pierro with female dynamo Kati Olsen, whose personality, poise, and powerful pipes are invigorating and irresistible.

The folks at NYC Popfest have a reputation for coaxing way-under-the-radar indie pop acts out of the woodwork for their annual shindig. But this criminally unheralded London foursome, playing their first U.S. show, was one of their more unexpected and welcome coups.

The trio of songs this Brooklyn group showcased from their 2014 debut LP Careers all profited from the forceful foursome’s potent punch and Drew Citron’s spirited, sweetly-lilted singing. But I was equally knocked out by the batch of new and/or unfamiliar songs they played.

Perhaps Philadelphia won this week’s Twin Cities sweepstakes by hosting The Replacements three days earlier, but BNLX ensured that New York received a similarly raucous and riveting runner-up.

With temperatures hovering around 0°F, New London, CT chanteuse Martin ensured that this show was worth the wearying weeknight trek and fleeting flirtations with frostbite.

The Chesterfield, NJ foursome played a blowout, 18-song opening set, including a handful from their fantastic new 2014 fifth album Captains of Industry, Captains of War.

If this show at this long-running beachfront venue was not quite as epic in scope as their October 2011 show at NYC’s Irving Plaza, when they tore through their 1977 debut Damned Damned Damned and 1980 fourth LP The Black Album in their entireties, it was still just as scorching.

By showcasing four up-and-coming, under-the-radar bands – all of which had new releases reviewed by energetic editor Jack Rabid in the mag’s last two issues – the night was as equally entertaining as The Big Takeover’s blowout, 15-band, two-day 30th anniversary festival at Brooklyn’s Bell House.

Compared to their triumphant free show at Brooklyn’s Prospect Park the previous June, the Dum Dums’ follow-up NYC gig at this spacious Williamsburg venue/restaurant/bowling alley was a more low-key affair. But it was still heaps of fun, not least because it took place on the night before Halloween.

This Toronto five-piece whipped through a short but sweet set, hitting every one of the their shimmering, surf-splashed self-titled debut LP’s songs save its closer “Red Planet.”

New Mexico-raised, L.A.-based Boyce’s ambitious, cinematic second LP further builds on the promise of her 2010 self-titled debut album and 2013 Tough Love EP, and establishes her as one of the most gratifying, gifted, and genuine songwriters going.

While the past music from Boston electronic duo Max Lewis and Mirza Ramic concentrated on quieter styles like ambient, dreampop, and even classical and jazz, Swim finds warm, crackling hip-hop beats dominating on every track.

Perhaps inspired by the “more democratic” writing approach employed for the album, this Swedish quintet sounds more sharpened and the arrangements more intricate than on 2012’s quiet and contemplative The Names.

Topeka, KS experimental cellist/multi-instrumentalist Aaron Martin’s latest collaboration is with Oakland, CA drone/psychedelic/metal practitioner and synth/sitar player Joseph Angelo, who also records under the name Luperci.

The sound collages that Topeka, KS-based experimentalist/cellist Martin creates on Comet’s Coma are every bit as alluring and anxiety-alleviating as those on his last solo LP, 2010’s Worried About the Fire.

Louisiana-born and raised, now Portland, OR-based Beach manages to make all of Ascension’s 17 songs unique, each one strewn with his wry, witty wordplay, and delivered in his amiable drawl.

As 2012’s Scale Model EP showed, this Nashville trio has completely overhauled their sound, from their 2005 seven-song Twilight Dim’s moody and meandering, two-guitar atmospheric rock into more dynamic and direct, synth-fueled dance-pop.

Though it shares many of the same characteristics as their radiant 2013 LP Drawn to You, Close manages to outshine it, thanks to more buoyant production and diverse arrangements.

On Ova Nova, this Philadelphia quartet’s distinctive blend of light pop, improvisational jazz/R&B, and angular art-rock feels more hypnotic, fluid, and melodic.

On their fourth LP, this decade-old, left-of-center Portland, OR trio sounds less deliberately daft than on past releases. But So Sweet still exhibits enough eccentricities to entice MMS enthusiasts.

NYC songstress and Mpress label head Sage follows her exquisite 2012 tenth LP Haunted By You with an even more accomplished, immaculately-crafted eleventh.

While the long trek from New Jersey to Queens during Friday rush hour was a drag, and the outdoor stadium’s 10 o’clock curfew left the band scrambling for time, this show by these reunited Minneapolis marvels more than exceeded my expectations.

This free mid-summer River Rocks soiree was a Murderer’s Row of Fanclub favorites, all dripping with their trademark three-part harmonies and Byrds-ian melodies.

Playing without a bassist, this Seattle trio’s deliberately-paced, dark-tinted music skirts the boundaries of ‘90s alterna-rock, ‘80s new wave, and ‘70s funk/prog/disco.

The River is a challenging, rewarding album, leaning more toward prog’s less experimental, song-based 1980s phase, while De Angelis’s soul-searching, solemn words are pensive and ambiguous, and open to interpretation.

Like he did playing with X a few blocks away at the Wonder Bar in December 2012, Doe still sounds every bit as revitalized as the formerly decrepit, once again hopping Asbury Park beachfront.

After seeing this ethereal Brooklyn five-piece twice before at mammoth-sized Manhattan venues, it was nice to finally get to see them up close and personal at this much smaller, superb-sounding space, doing one of their own headlining shows.

With 17 of the night’s 18 songs coming from the Glasgow band’s last three (of five) excellent albums – including seven from their newest LP Desire Lines – this was an embarrassment of riches.

British folkie Garrie was only allotted 30 minutes, so this set opening for Dutch baroque popster/psych rocker Gardner couldn’t match his hour-plus long headlining show last year at Joe’s Pub. But this was still worth venturing across two rivers from New Jersey!

This Newcastle, UK quintet played a terrific show, even if the set’s inclusion of ten new LP songs undercut some of the band’s typical rapid-fire, crackling pace.

When two of pop music’s best songwriters, Pernice Brothers/Scud Mountain Boys’ Joe Pernice and Teenage Fanclub’s Norman Blake, come through town to perform acoustically as The New Mendicants, you drop everything and go.

It’s nice to finally get this Austin “slacker rock” group’s second full-length, following 2005’s Brown Orange Black and Gray. As on their 2008 Newfangled EP, it’s the album’s distinctive nature and welcoming vibe that draws you in.

This spunky, punky all-female NYC quartet’s third LP bristles with an increased tension and urgency. It also packs a heftier wallop than their previous albums, and the interweaving post-punk guitars benefit from added bite and bile.

This Philadelphia quartet’s My Bloody Valentine-esque onslaught continued through eight explosive tunes, which often flew by in a tumultuous blur. Don’t be misled by the unassuming moniker; on this night, Nothing was really something.

It sure was strange to see NYC’s poppy Pains for this fifth occasion, as frontman Kip Berman was backed by a completely different lineup than the familiar one that played the other four!

I missed London’s Toy when they played this superb-sounding tombstone store turned music venue back in January, so I was grateful to have this chance at redemption four months later. As expected, it was easy to lose oneself in a head-bobbing haze.

This Uppsala, Sweden quartet release their seventh LP, following 2011’s excellent Staying Alive in a Country Industrialized. If it’s solace you crave, this LP provides an ample dose, both in its music and words.

As on St. Paul, MN alt-country/Americana architect Devaney’s 2002 second album September, you’ll find yourself happily succumbing to this sixth LP’s intoxicating spell.

NYC-based songstress Simone Stevens has a sumptuous, sultry voice that immediately impresses. Her new quartet’s music tones down the alt country/folk of past releases, in favor of dreamy mood-pop.

Not content to put on a run-of-the-mill gig, this elusive, secretive seven-member Swedish collective delivered another energetic, elaborate, and exhausting extravaganza.

After their breakthrough third LP Too True and a Late Show with David Letterman appearance, Dum Dum Girls played two of their biggest headlining shows in NYC.

Was it worth schlepping from New Jersey to Manhattan on the night of the city’s tenth-highest rainfall total in record-keeping history, to see these golden-voiced teenaged sisters from Indianapolis trill together? In a word: yes!

On Roohan’s solo-billed second LP, the sweet coo that graced her debut has gained a more full-bodied presence and punch.

Rada’s an Israeli-born Ethiopian singer who’s based in Tel Aviv, and this self-titled debut LP follows her 2013 “Life Happens” EP. With twelve strong tunes, Ester Rada is convincing, confident soul music with an edge.

On his first full-length, multi-instrumentalist Suereth’s vivacious, ear-tickling ambient touches and hooky, new wave-inspired pop sense drew me in.

This show spotlighted the veteran trio’s new 32-song tenth LP Purgatory/Paradise, while Muses co-founder Donelly joined her half-sister Hersh on stage for five older numbers.

This cozy mid-afternoon Greenpoint brunch gig, opening for veteran CT folkie Kath Bloom, was ideally suited to Draper’s soothing approach.

Not only does singer Nathan Hewitt bring to mind Swervedriver’s Adam Franklin, but the band also employs a similar no nonsense/no banter presentation, blasting through their ten-song set with workmanlike precision.

This gripping, atmospheric Paris quartet claims to be inspired by UK Britpop and the NYC music scene, and this debut five-song EP backs up those assertions.

The trio’s first of two final shows focused on the bash ‘em out, ramshackle yet endearing punk days of their first two albums, and the career retrospective was a treat for longtime fans.

This rare, one-off Northeast appearance by superb new San Francisco ethereal band Slowness was hypnotic and resonant.

Nearly five years after playing their last show, this Seattle and New Jersey-based trio release a fetching new EP.

This five-song cassette EP, sold at Landing’s 15th anniversary tour in the summer of 2013, suffers no drop-off in quality from their previous releases.

As Early Songs proves, Pola’s headphone music was pacifying and pleasing right from the get-go.

This new EP from Portland, OR folk-rocker Marble is centered around a song from his 2012 third LP Where the Knives Meet Between the Rows.

This lo-fi holiday EP makes for a pleasant soundtrack to your next blanket-draped, cider-sipping wintry evening in front of the fire.

The Escape has a deeper, more dynamic full band sound, while still retaining all of their debut LP’s spacious, sweeping, and snowpeak-scaling folk-rock beauty.

On their debut full-length, this Austin, TX quintet bombards you with spacious, stratosphere-scraping keyboards and crescendoing cloudbursts of guitars.

Beach blends folk, alt-country, noise-rock, and post-punk in almost equal measure, never fully succumbing to one style.

This Chicago trio jettisons the harsh ‘n’ heavy rock/post-punk that dominated 2012’s Separation Anxiety, in favor of a more subdued approach.

Elliott’s been continually perfecting her craft since her 2007 debut, and it pays dividends on this sumptuous, beautifully produced five-songer.

Live sheds favorable light on an unfairly overlooked band, and makes its case as EK3’s ultimate document.

This unconventional, left-of-center Cleveland duo release an elaborate, freeform 22-minute single.

Soft makes the case for the theatrical/visual group’s music as equally compelling home listening, too.

This Tucson, AZ foursome serves up more raucous, ‘60s garage/psych/R&B-influenced rock, occasionally veering off into thrashy punk and festive country/roots-rock.

Once again, Novi Split’s unembellished, frank songs make for a quietly affecting listen.

Now six years into their career, IWTDI are making music commensurate with their immodest moniker.

Mascott’s soothing, alluring music is an ideal remedy for the encroaching winter doldrums.

This snappily dressed Ventura, CA foursome serves up another round of raucous, swampy country/blues-inspired rock.

Although Pete’s no longer sells sweet treats, on this night Ashley and Brodeur nourished us with plenty of delicious ear candy.

Originally released last August, this Nashville foursome’s 2012 self-titled EP has recently been remastered and sounds as wonderful as it did when I first heard it.

This sophomore effort combines 2010 debut Memento Mori’s melodic depth and multi-faceted songwriting with a harder-edged bite.

By stripping things down and laying bare her soul, Boyce knocks one way out of the park on this follow-up to her 2010 self-titled debut.

Seattle-based troubadour Norsworthy shifts direction on his sixth album, veering into traditional, old-timey blues.

Berkeley, CA-based Lowe’s pretty songs and soothing voice go down easy, like a cup of herbal tea on a Spring morning.

This college-aged New York foursome’s marvelous just-released second LP Warned You is one of my favorite albums of 2013, so these two Greenwich Village shows were eagerly anticipated. Much to my surprise, the band was as convincing and formidable live as on record!

Although this greater New York ethereal trio had to cancel their first February show at Brooklyn’s Rock Shop due to Blizzard Nemo, the band “stormed” back with these two superb follow-up gigs later in the month.

On the first show of their tour, bassist Jason Narducy’s and drummer Jon Wurster’s hefty yet fluid rhythms constantly sent Mould’s propulsive, buzzing guitar to Shuttle launch intensities.

Each of Stringfellow’s previous shows I’ve seen were all analogous in how he strove to achieve an intimate, one-on-one connection with the audience. This early Saturday evening show was no different.

This show marked the 15th time I’ve seen Mission of Burma since their NYC comeback at Irving Plaza in January 2002, and their performance was as pulverizing, unrelenting, and physically exhausting as any of those previous gigs.

The last time this Hungarian group played in New York I had to miss them because of a Buzzcocks show on the same night. So I was glad to have this second chance to see them, even if I had to wait over two years for it.

This college-aged New York foursome’s second LP finds guitarist Hunter Lombard’s thick, propulsive riffs and singer Sofie Kapur’s irresistible pipes continually soaring to stratospheric heights.

This Brooklyn trio built up such vigorous, colossal crescendos, I thought Union Hall’s upstairs bocce courts might collapse on top of us.

After headlining Manhattan’s spacious Terminal 5 in front of 3,000 punters last March, here they were eight short months later, playing this much smaller, 400-capacity Gowanus art/performance space.

Even 33 years after the original lineup split, an Avengers show is still, remarkably, a carefree and liberating experience.

For this tour, Sloan trotted out their 1994 second LP Twice Removed, the occasion being its recent box set reissue. Like the previous six times I’ve seen them, this was another smashing performance!

Lotion were one of the best bands in NYC back in the 1990’s, and they still sound better than most current local outfits. Here’s hoping they continue to play once (or more) per year, to keep reminding us of that.

We’ll keep our fingers crossed for that Slowdive reunion, but as these shows proved, Halstead on his own is equally worth making the trek from New Jersey to NYC on two successive nights to see.

In person their music engulfs and entrances you, even moreso than on record. It makes for a distinctive double-whammy of muscle and beauty that keeps getting better with each show.

A zealous crowd of diehards ensured that two-thirds of the main floor was full, so this was far from a bust. Despite the thinner turnout, this was a welcome return from a band that deserves a bigger following here.

Mould seemed so rejuvenated, and his band so on fire, that this was more dynamic and passionate than any prior Mould full-band show I’d seen.

The quiet setting allowed Matt Harmon and Kali Giaritta to take advantage of the intimate room’s natural acoustics, making their attractive trade-off vocals and harmonies resonate.

You could tell that everyone in attendance, especially the many seeing the band for the first time, were electrified – the thunderous applause at the end of the main set was louder than at any past show I can recall.

This free quadruple bill in Central Park, part of CBGB’s inaugural four-day, 300+ band festival, was well worth enduring a few sweaty hours for in the oppressive heat.

Though the fledgling London foursome wasn’t used to playing in such heat, they gamely plowed ahead with another intense performance.

Right from the opening song, the twinkly, jangly guitars of Martin Courtney and Matt Mondanile sounded as soothing as cicadas and wind chimes on a warm, breezy night.

Overall, Litman’s consummate showmanship and the venue’s classy old-style West Village charm made this feel like a quintessential NYC evening out.

Owing to this free show’s last-minute arrangements and the fact it wasn’t even mentioned at the previous night’s sold-out Bowery Ballroom gig, a relatively modest crowd showed up. Yet we were treated to an identical setlist as at Bowery!

This was an ideal opportunity for New Yorkers to catch two of New Jersey’s best power-pop bands for the price of one.

Although I’m not much of a horse racing fan, I was more than enthusiastic for this early Saturday evening “Kentucky Derby party” double bill featuring these two great veteran, female-fronted local bands.

Given the focus on Franklin’s first two solo LPs, the show highlighted his moodier, more ethereal psych-folk side, in contrast to Swervedriver’s full-on blast furnace rockers.

On this final show of their NYC residency, the Los Angeles roots rock quintet treated the modest Bowery Electric crowd to their upcoming third album Ownerless from start to finish.

With a large draped sheet hanging behind them, onto which paint-splattered, kaleidoscopic images were projected, I couldn’t help but feel like I had stumbled into some illicit, impromptu ‘60s psychedelic basement party.

Aided by the Music Hall of Williamsburg’s crystal-clear, punchy sound system, the band delivered another explosive and energetic performance.

Throughout, it was a pleasure hearing Mark and April harmonize together, like on the catchy single “Wait For the Waves,” with that extra special close-knit entwining of voices that singing siblings often have.

Once again, Swervedriver delivered another fantastic, lights out performance that left me feeling awestruck.

What we sacrificed by losing the previous shows’ up-close-and-personal immediacy was offset by the band’s most thunderous, earth-shattering assault yet!

This show was not quite as blistering as the 2010 Seaport gig, which showcased the speedier Bizarro. But the more understated Seamonsters still sounded 10x more hard-hitting in this lineup’s hands.

This tour marked the first time all seven band members have played together in the U.S. Thus, this was an ideal chance to witness their luxurious music performed with all the bells and whistles.

Though this was a short, 35-minute opening set, it was a good opportunity to catch this fantastic new Brooklyn foursome before they embarked on a two-week SXSW tour.

Judging by the lively crowd at the venerated, long-lasting punk club, it seemed like every old school rock ‘n’ roller within spitting distance showed up in eager anticipation of seeing Lure in action. Once again, the band did not disappoint.

For this gratifying set, Ray brought along organist Rory More and drummer Andrew Zammit, who provided just the right shading and color for her distinctive songs.

While not quite as start-to-finish blasting as December’s show, this more well rounded overview still rocked like nobody’s business.

It was a shock that these reunion shows even happened at all, given that Pernice hadn’t spoken with his old bandmates in 14 years. Judging by this sublime show, it was as if no time had passed at all.

It was a pleasure to finally see them on stage again, in support of their beautiful new third LP, Will You Be There With Me.

The band had a more ferocious edge and a newfound punkish roar that, while percolating below the surface before, came out more forcefully tonight.

Hey, if Vivian Girls are willing to risk a minor bout of pneumonia to play a few songs for free on a Friday night, I’m up for it!

So how did they fare, making the sudden jump to this much larger, 550-capacity venue in so short a time? I’m happy to say, much better than most young bands.

The normally chatty Brooklyn crowd, seemingly filled with Mirah diehards, was held spellbound – at times you could almost hear a pin drop.