Overall, The Next One is a fantastically adventurous sonic landscape, making it a compelling addition for both fans of the avant-garde and those seeking a fresh musical experience.

Where Hope Goes, Fear Follows not only represents a culmination of Peck’s artistic journey but also further establishes him as a formidable voice in contemporary electronica.

Industrial Tribute_ is not just a homage; it’s a bold statement that reaffirms their role as innovators in the industrial genre.

Although JBNG are such a new group, they’ve already carved out such an impressive niche for themselves, and prove that there’s still new gold to be mined within the alt rock genre.

With Crimson Legacy, McDuffee joins the ranks of great musicians like Danny Elfman and Brian Eno who inhabit the film and music worlds with effortless ease, creating vital works of art in both spheres.

Little Blue Dot makes an important and necessary statement about the threats facing our planet, and it also represents a high watermark of creativity for The New Students, as they sound tighter and more inspired than ever.

Cautionary Yell is an impressive addition to an already storied discography for Sluka, and a real jewel in the crown to cap off what has come before.

For all of the different influences, it’s a remarkably cohesive collection of songs that form a stunning debut statement and will easily appeal to any fan of 80s goth and goth-adjacent music.

The Gospel of Getting Free is in many ways Taubman’s greatest artistic statement yet.

Embrace Form certainly does exactly what it says on the tin as it embraces certain pop conventions while staying true to the band’s experimental roots, creating a brilliant hybrid masterpiece.

Reaching Out is a beautifully moving and fitting companion to the album before it and even manages to surpass it in terms of execution and the profound emotions expressed with deft nuance.

Influenced by the likes of Tom Waits and Neil Young, there is an intellectual, referential quality to the songs as they explore the contemporary climate in four new songs.

Listening to Autopoiesis is a wonderfully strange experience where you feel like you’re floating in space, completely untethered from any and all genre distinctions.

By exploring ambience and space, Danny Peck has easily created his most profound and captivating work yet.

Some might argue a trilogy is an overambitious way to begin a music career, but Spencer Skyline has meticulously crafted the first part with an incredible amount of skill and detail.

This EP may seem on the surface to have a lot in common with the folk genre, but the listener quickly realizes there really is nothing else exactly like it.

In a year where there are a number of emerging names in pop music, Indiana Rich should be placed among them with Gemini as evidence why.

Veil Lifter is new territory for Post Death Soundtrack, but it’s a brave, bold move that really pays off as the band thrives in this environment, perhaps better than they ever have.

There’s a certain askance, left-of-center quality about Gammage’s music that prevents it from ever sitting comfortably in the traditional singer-songwriter genre, making the experience of listening to Redeemed all the more exciting and unpredictable because of it.

The Love Insane is hands down one of the most electric and dynamic releases to come out of the COVID era creative boom, and also stands on its own as a new peak for the ensemble.

It might have taken the band a long time to get to this point, but the wait was clearly worth it as Postcards From Lonely Places is a defining statement that also points to a number of open doors that lay ahead for them.

Every Moment All At Once marks a huge, astounding leap forward for the band.

Shapeshifter leaves the listener with a terrific and bold display of passion, ambition, and a huge amount of talent.

Andy Messing wears his heart on his sleeve with his lyrics, and Rise Again beautifully captures the number one punk necessity of authenticity.

2024 isn’t even here yet, but it looks like Pray to the Knife, which is released February 16th, is already set to be one of the year’s most exciting releases.

In The Rain Shadow is a testament to the persistence of true positivity in our modern era, and ultimately it’s a truly inspiring musical expression.

Reaching In is not the first album to tackle these themes, but it’s definitely one of the best and it’s executed with delicacy, great care, and a startling amount of talent.

Blow My Cover is hands down the artist’s finest collection of songs yet, representing a brilliant milestone for his evolution as a musician.

With a sound that is stretches broadly across different rock genres, Micarelli manages to graft the more exploratory sides of artists like Pink Floyd and even the slow burning epics of Bruce Springsteen.

From the outset Warm Weather Starter Pack sounds like a real labor of love and an emotionally convincing display of passion from a group who clearly love making music together.

aTYPICAL is a perfectly fitting title, because SuperWAV are true standouts in this genre, creating an intensity between two people that couldn’t be replicated with an entire orchestra.

TAMI is indeed a truly compelling affair that brings something fresh and alive to the genre, and it is at once challenging and accessible as the collective create a work of art that perfectly straddles both styles with ease.

With everything produced by The Last Optimist, the results are deceptively ambitious and the true power of seed water sun grows by completely immersing yourself in the album.

Hypnotized is an impressive, intelligently executed debut from an artist who seems to have emerged already fully-formed.

It’s impossible to guess the impact this would have had in 1998, but Throbbing Flip Out feels like a crucial missing link in the genre’s evolution that should be a vital addition to any aficionado’s collection.

Self-described as a “reverse White Stripes,” Lemon Knife are a husband and wife duo from Chicago consisting of Mia Blixt-Shehan on guitars and John Retterer-Moore on drums.

New York City-based musician Paul Maged is back with a politically charged EP titled Crossroads, named after the perceived crossroads of both the singer-songwriter’s own life and the social and political problems facing the country.

For such a prolific duo, their output remains consistent and their songwriting as strong as ever. Answers Belie shows a growing maturity for the pair as well, as they do an outstanding job of the ever difficult task of capturing world issues in succinct yet profound ways.

A lot of minimalistic lo-fi bedroom pop has emerged since 2020, for better or for worse, but Open Dream is a massive and challenging exploration of an artist pushing his own boundaries as well as a clear love letter to the possibilities of music.

Frantic Hearts is a statement from a band not just pushing their musical boundaries, but the boundaries of rock music itself, without ever once becoming too theoretical or needlessly experimental. It’s a truly exciting album that continues to surprise regardless of how many times you listen.

You know what? I’m about to say it: We need Sparks now more than ever. With a lyrical voice that is in turn witty, observant, detached, self-referential, satiric, and above all, entirely their own, only the Mael brothers are adequately equipped to comment on the current times while simultaneously providing a much needed dose of escapism.

Regardless of what your favorite 70s band is, there is something in While We Were Making Plans for everyone, but The Splatter Pattern emerges with a fully formed, compelling artistic voice that is all their own.

Recreate is not blindly optimistic, but it is an infectious burst of compassion from a voice that is so needed in this moment.

Always You is a wonderful addition to the artist’s repertoire, and a testament to the continued importance of jazz pop.

King Analog remains compelling and exciting over the entire album, an often difficult feat for instrumentalists, and the artist emerges as a dynamically challenging force to be reckoned with right out of the gates.

Hopefully this tour is not the band’s swansong and Love and Rockets will continue to play live. At the risk of sounding too greedy, one can only dream that they will record another album as well.

The generous hat tips the group gives to their predecessors will win over staunch traditionalists, but First Penetration will undoubtedly appeal to almost every fan of the genre.

Bergquist doesn’t try to shake the world with Wiser Then, but it’s almost as if he wants to slip into the room quietly, preferring to slowly blow away the listener with the accumulation of his strongly poetic lyricism over time.

A coming-of-age album, Chuck Rock is the work of a group still growing, and it’s a fantastic snapshot of a moment in time, while the band purposely plays down the album’s remarkable merits at every corner.

High intensity seems to be the running theme of Zombie Telegram as Mallory expresses themselves unabashedly in an exposed, maudlin, and sometimes even violent manner, creating an extremely captivating, thrilling experience that continues to unfold with each listen.

Never Sleep is a fantastic expansion of Feder’s sound, offering a more vulnerable, introspective side of the artist, and it’s set to be released June 23rd.

The gloomier side of artists like The Cure or the emotional intensity of Cocteau Twins are clear influences, while stylistically she is closer to musicians including Lana Del Rey and Cat Power.

Malice marks a major step forward, in both songwriting and production from previous releases, but most importantly it represents a fantastically cohesive statement from a band unequivocally finding their voice.

It’s as if Michael is sampling bits and pieces of the genre, a Whitman’s Sampler of rock ‘n’ roll, and Rocking Into Midnight succeeds wonderfully as a loving tribute in its own charmingly honest way.

Brennan reaches into her personal experiences to pull out a general theme of hope throughout the five songs that manages to stay uplifting and optimistic without once becoming dangerously cloying.

Lit is a fantastic album that bridges genres and styles effortlessly, and it will easily appeal to both nitpicky blues heads and punk purists alike.

Set to be released later this year, The Beach EP doesn’t rock the boat too much or aim to challenge the status quo, but in his own brilliantly hummable way, Harris offers a folksy, optimistic point of view that is desperately needed right now.

Without being flashy whatsoever, Rocky Roberts stands out as an important voice in classic country, and Pieces of Time has a beautifully timeless feeling.

Petty Human Emotions is a remarkably sprawling and diverse work of art for a group’s debut, and points definitively to even grander things on the horizon.

Terrible and Sad is a fantastic EP that leaves you wanting much more, and it’s an audible testament to individuals climbing out of their struggles, raising the listener alongside them.

Welcome to Doc City is an exquisitely executed album, augmented by a cast of top session players, and the result is a listening experience that was clearly a labor of love for all involved.

The Ladderman’s third album is easily their most ambitious and accomplished yet, and on Figures on Demand the group willingly throws themselves into the deep end, exploring uncharted territory with startling results.

Hidden Gems, instead of being a mismatched hodgepodge, is the most concerted document of Merdinger’s fine songwriting ability so far, and it represents the pinnacle of a real maturing for the artist.

A Thousand Times Brighter will appeal to fans of any number of genres from both sides of the classical/pop aisle, and the album will be released April 28th.

Shifting away from the electronic or ambient sounds of previous releases, The Earthly Frames have found a real home with folk, and although it’s unlikely they’ll linger here for long, one can only hope it’s a sound they return to in the future.

At the end of the day, Cosmic Flute Rides Again is a great pop record that manages to stay interesting and exciting throughout the entire duration without once growing tired or repetitive.

Future Thunder Void is by far the band’s most cohesive and accomplished collection of songs yet, and represents a perfectly crystallized distillation of their ethos.

Vectralux have truly come into their own here, maturing as songwriters and hitting upon a sound all of their own.

Sky’s Rust transcends genres and resists categorization but it will easily appeal to fans of Romeo Rage’s influences.

Globus have really delivered a rollercoaster ride of an album that surpasses the already high bar set by the band.

The production on the album was aided by Tony Maimone of Per Ubu, and the songs truly benefit from a bombastic, larger-than-life sound. Lord Sonny the Unifier truly outdid himself here.

It’s insane to record something with a scale this large, but What Strange Beasts executes their vision with skill and ingenuity that is truly awe-inspiringly impressive.

Belanger has carved out a niche with a unique delivery and down-to-earth lyricism that is entirely his own, and This Moment Is Gone is sure to help find comfort and solace for many listeners.

The Sound of the Winter Sun completely ignores any and all current music trends, and it is all the better for it as Brynilde creates an album that is as timeless as it is mysterious.

Truthfully, there is really nothing else out there like there so it is incredibly difficult to define, but Minds is subtly confrontational and rewards attentive listening as much as it demands it.

Light Roars plays like the most crystallized realization of Husmann’s concept.

It’s awesome to see some great new music come from Seattle again, and Welcome to My World is a fantastic debut EP that doesn’t really sound like anything ever before made in that city.

It’s music that, perhaps, could only be made in Los Angeles, it invites the listener, wherever they are, to step back and appreciate life away from the recent events of the last two years

Grace is such an exciting album that reminds the audience of the fun playfulness to be had with the genre.

Merdinger’s lifelong connection to these songs is immediate, making Troubadour a statement that is both a personal journey for the artist as well as representative of the story of American music since the 60s.

With a large turn to socially conscious music lately, the Bomb Cats are a refreshing blast of fresh air, reminding the audience to still have some fun occasionally.

January 22 has all of the theatrics of a U2 with more grit, and for an album self-recorded (at least partly on the artist’s sailboat), it is a stunningly ambitious achievement.

What the artists attempt to achieve on Sacred Spiral is a lot, but listen to any of the songs and it’s clear they come extremely close to the sublime.

Overall, the album leaves the listener with a sensation that can only be described as awestruck.

The five-piece band puts their own spin on the Red Dirt country genre with a Heartland sensibility that focuses on honest vignettes of individual lives to which their audience can immediately relate.

Cornell’s trajectory somewhat echoes that of Nick Lowe, whose raucous beginnings gradually gave way to a gentler croon subtly influenced by pop of the 50s and early 60s.

It goes without saying that it is brave to be this honest and transparent about a subject that many still struggle to talk about openly, but this is also nothing short of a fantastic record.

Pureocracy thrives and succeeds because of its production, and although modest, it’s a definite contender for one of the year’s strongest debuts.

What truly sells the album is an emotionally charged desire to capture a snapshot of modern life at a singular moment in time.

It’s a tour de force of technicality, but more importantly, SE3 is so fantastically addictive and challenging that it firmly lodges itself in your brain like a work of art you have known your entire life.

It’s a fantastic document of a band captured in what is seemingly a transitional period, and leaves the door wide open for more great music on the horizon.

The Other Side of Midnight is a timeless work which could have been released in any number of eras and still have held a great depth of artistic significance.

The world may not have ended, yet, but if the events of the last few years have fueled the inspiration of bands like Vannon, then at least we can be thankful for a work of art this powerful.

It’s difficult to feel left wanting a little more, but what Aura Blaze has given us here is breathtaking in its scope and truly impressive in its beautifully lush production.

Ellis is a fantastically hypnotic collection of songs, and a giant step forward for 1st Base Runner’s sound.

A fascinating and captivating twist on grunge and alt-rock that strips the genres back to their bare essentials and injects a heavy dose of psychedelic oddness for good measure.

It’s an ambitiously dramatic and highly theatrical album that never loses focus, and the band never forgets to have a blast in the process, making the whole thing a rollercoaster of high octane fun.

It has glimpses of the 70s, 80s, 90s, even the future, and ultimately nothing today sounds quite like what Sluka are making.

After four EPs, it clearly seems like Seneko is building his music to something big, and a full-length album will undoubtedly deliver on the promise in this collection of his best songs yet.

It might be some time and many repeated listens before the totality of SEL Fellow’s mysteries and beauty truly reveal themselves to this listener, but Tawni Bias is clearly a name that holds a ton of promise for the future.

Each Morning and the Morning Thereafter leaves the listener with the feeling that they have heard a collection that sounds a little like a million different references and yet also something entirely brand new and fresh.

In only four deceptively simple songs they have crafted an immersive experience that envelopes and hooks you with each listen.

Chicago’s Livingroom released their debut album, Don’t Shoot the Messenger!, this year, and it plays like exactly the breath of fresh air the music world needs at this moment.

Home All Day, Home All Night might emerge as one of the more profound artistic statements of the COVID precisely because the band doesn’t date themselves to the era and the album will hold up long after this pandemic is behind us.

It’s interesting to ponder how these songs would have been received if they had been released in the 90s, but it is undeniable that Hey Mountain Hey is absolutely perfect for this moment.

Rarely is a first release as ambitious as Mettle, and fortunately for the artist and the listener, the finished product more than lives up to that promise in bold and highly original ways.

Killed by The Architects doesn’t try to reinvent indie rock or post-punk, but it will easily charm and melt the frozen hearts of even the pickiest of gatekeeping fans.

Rather than padded with filler, the immense album is proving to be made with meticulous care and attention.

Night Shadows isn’t above referencing pop culture or the long history of popular music, and by beautifully and effortlessly synthesizing both the high and the low the band is elevated to a living individual work of art.

As time and aging are common themes throughout the album, it is fascinating to listen to an artist with a new perspective sing these songs written by his younger self.

Metamorphosis will appeal most of all to fans of the genre looking for something more intellectual than the standard fare.

Like the primeval thunderstorms of Stravinsky’s Rite of Spring, the music of Echo Us scratches an ancient itch deep in the back of the listener’s subconscious.

For all of the seriousness behind the inspiration, Wise John handles it with a deft touch; sometimes with humor, sometimes with anger, and sometimes with a hint of naivety.

The Virtualistics is undoubtedly a product of the COVID age, but it is also a light at the end of the tunnel.

Release is one the truest, most mature accounts in contemporary folk of what it means to struggle, to persevere, or to just get by.

Madness on Repeat which fantastically showcases the tight, telepathic communication between the members and their impressive musicianship.

Perched somewhere between dark pop and the avant- garde, Endgame is a tricky work of art to unravel, but there are plenty of rewards for those who try.

Like the “old cedar box” described in “Polaroid Parade,” Songs from the Briarpatch plays like a collection of memories—some good, some bad, some in between—and the resulting feelings that emerge are not easy to pick apart.

Every song on Open Sesame is like some song you heard on the radio in the 70s once and blew your mind even if you never found out the name of the artist. And I think that’s the point.

Race Against Time acknowledges that such a race as its title suggests is ultimately impossible to win, and thereby the album ends up one of the genre’s most thoughtful and intelligent entries in a long time.

This album sits on the more introspective end of the grunge spectrum, and is undoubtedly best enjoyed in the dark of one’s bedroom than dancing riotously in a crowd.

Hello Morning might have been a long time coming, but Wax Moon have created a startlingly powerful album that shows the fruits of their labor without ever showing off.

The Invitation is a remarkable example of an artist both rejecting and welcoming trends, creating something uniquely their own in the process.

Earlier this month, Husmann released a new album Seven Years of Silence, titled after the seven year hiatus the artist took from the industry.

Like Rocky Horror, the EP is extremely camp, over the top, and a ton of fun.

Whispers From the Wicker Man may be one of the more unexpected hard rock releases of the year, but it is sure to remind fans why the group first caused a stir all those years ago.

Although their next release promises to have more of a rock edge, the mood of Sirens Go By, especially the title track, perfectly suits the uncertain and contemplative time we are in.

Essentially, their music is a party in spite of life falling apart, thus making The Divorcees the perfect post-pandemic soundtrack.

With an album cover that could have easily been shot in the 90s, Apache Rose proudly sport clear influences of alt-rock acts like the Foo Fighters, Stone Temple Pilots, and Queens of the Stone Age.

The group is at their best replicating the Industrial and atmospheric piano ballads by Martin Gore, but they expanded what were commonly interludes on Depeche’s greatest albums from the 80s and brought them front and center.

Wallflower is a fantastic document of a state of mind that countless others have likely experienced in the preceding twelve months, and is definitely recommended for any fans of Lana Del Rey.

By the end of Get Big, the album is a truer descendent of Americana than the majority of slickly-produced odes to beer and women that masquerade under the title today.

It is still early in the year, but Sea Area Forecast, out February 10th, has all the makings to be one of 2021’s strongest indie rock efforts.

An album like And the Triumph of Justice is, to put it simply, sheer fun, a breath of fresh air, and a reminder of this country’s potential just when it is needed the most.

Magic Beans might very well be a perfect title for the album, because it is full of songs that start off unassuming before growing to unimaginable heights; making a record full of delightful surprises.

All New Information is a big step forward for the artist, finding Lord Sonny with a leaner, heavier sound, a clear sense of direction, and a newfound edge in his delivery and songwriting.

Although some of the Louvins’ material has aged better, what is still evident is the intensity and conviction in their voices, creating an irresistible energy that persists despite the changing times.

Twenty Twenty perfectly captures the zeitgeist of our times; combining fear with tempered hope, grief with apocalyptic camaraderie.

Jackson Price acknowledges his debts to his musical heroes, and focuses on simply playing the blues as best he knows how.

Moments and Fragments_ is easily one of the most ambitious and daring albums in the genre in ages, and it comes out on Instru Dash Mental March 27th.

There have been a number of bands in recent years who have begun playing with this style once again, but Ptolemea are among the few who dare to explore and stretch the genre to its breaking point.

Zilla With Her Eyes Shut is a brilliantly bold and provocative record that proves something can have commercial appeal without once sacrificing experimentation or artistic integrity.

With only seven songs, Setz manages to cover a lot of territory and themes with Metamorfosis, and she emerges as one of the most innovative new singer-songwriters precisely because of her commitment to originality and self-satisfaction.

The sound itself may not be exactly modern, but it should easily find a home with both 70s prog and 90s alt rock fans.

Storie Grubb is a wet dream waiting to be discovered by those who will spend hours searching through Bandcamp for secret DIY gems, and The Void Struggle proves itself to be the creation of an artist with a truly singular and original identity.

Although smaller in stature than her debut, Fern is undoubtedly Resurrection Fern’s greatest statement yet as a musician.

The album comes off like the work of one man who clearly knows his music history, and it’s a tribute to the bands that have inspired him the most, while putting his own unique spin on his influences.

Indebted to his heroes, Rob Alexander nevertheless continues to prove that he has his own distinct voice with Being Myself.

Hot Damn Romance is a wonderful addition for any fans of classic jazz who say they don’t make them like they used to, because Eva Schubert has clearly proven them wrong.

Perhaps it’s insensitive to say, but the drama evident in Chasolen’s personal life has made Living in Limbo is most mature and profound work to date.

Drowning Effect comes out as a stunningly strident and original debut in an already overcrowded genre.

The production could use a little more polishing, but over all Goat Life Vol. 1 shows a duo that easily could ascend to the ranks of similar artists like Drake with more time.

Incendiary Heart is a beautifully-produced work of love, and it’s an album that will cut straight to the listener’s heart as Andy Michaels is celarly singing from his own.

George has done an amazing job breathing new life into these songs, especially the beautiful, dreamy “Heart Of The Matter.”

One Hand On My Heart is a heavy listen that demands full emotional investment on the part of the listener, but the honesty and depth in the music also make it one of the truest statements in the genre for quite some time.

Easily Lucinda Belle’s finest work yet, Think Big: Like Me is an aural buffet of delectable, carefully-crafted treats.

Scars & Wounds, which is out June 8th, is a tiny but wonderful glimpse at a burgeoning new songwriter who has everything it takes to find a completely original voice of his own.

Story Of My Life is out June 15, and although short, it might just be West’s finest and most mature statement as an artist yet.

Dream Journal may not be a masterpiece, but it is the long overdue return of an artist who has the talent and vision necessary to someday soon produce one.

Nimo & The Light are clearly inspired by a disparate, wide-ranging group of influences, but it’s quite innovative how they take them all and combine them into something fresh and new.

FINAL NOTICE! isn’t revolutionary although it calls for revolution, but it’s a perfect listen for any fan of classic ’70s glam rock with a modern twist.

As the epic seven-minute closer “So Below” proves, the band is full of the desire and innovation necessary to push the boundaries of their genre.

Raising Cannibals is not unlike the work of *The Magnetic Fields*—inextricably attached to the music traditions of the past and yet could only possibly be the product of one singular artist.

For an album that has risen from the ashes, Pleasant Grove Hotel doesn’t sound like it at all and Outerfield have crafted a coherent, strong collection of songs.

F*ck You_ is both subtle and surprising in its charms, and it bears repeated listening to fully uncover the meanings behind Annamay’s evocative lyrics.

Cobalt has been an immediate success in the electronic charts in his home of Italy, and it certainly is strong enough to possibly be Seti’s breakthrough in the States and internationally.

Versal is a highly accomplished and original statement from an artist who clearly puts his entire soul and personality into his work.

Prior to recording the EP, Ames visited Buenos Aires, and the songs have a strong Latin feel but rather than an opportunistic novelty as is often the case, it’s a natural and respectful incorporation.

Legends In Their Own Minds might not be a complete reinvention of Sundogs’ influences, but they created something which could have easily existed in the stacks of vinyl somewhere alongside Led Zeppelin and Eric Clapton.

Ten Years of Solitude is a genre-bending, deeply personal one-of-a-kind statement from an artist with as much vision as individuality.

Whether Revolution is a beginning of something new, an ending of the band’s old style, or a transition between the two, it certainly remains Torres’s most finely executed statement yet, and ends with the exciting open question of what will follow.

Adams proves himself capable of numerous styles here, and Nest of Vipers just might be one of his best albums yet.

The Divorce Party is a bit of a hodge-podge of an album, but it also includes some of Bitter’s Kiss’ finest work yet.

A New Heart doesn’t quite live up to the work of Thomas’ influences, but he certainly does a fantastic job following in their footsteps, creating a thoroughly enjoyable experience.

Postplay subverts the past, invents the future, and refuses to rest in the present, thus becoming something which stands to become a minor classic in its own right.

It Will Come Out of Nowhere is the inspired rejuvenation of a band whose vision and voice will always outlast any interpersonal changes.

Subterranean Reality isn’t groundbreaking, revolutionary punk, but nevertheless it’s punk at the highest caliber and of a quality that will even rival the band’s heroes.

From The Roots To The Sky is a challenging listen to say the least, but the high level of skill from the performers and the hidden depths it conceals also make it one of the most rewarding.

Dance Into The Desert is a remarkable debut album which encloses a large amount of craft and attention to detail within a deceivingly modest pop format.

Few manage to create something that at once feels removed or distant from the composer and yet still retains a high degree of raw emotional honesty.

Made Out Of Stars occasionally feels like a collection of odds and ends but it’s impossible to complain because the quality of songwriting and execution is just so pitch perfect.

the calm | the storm is a conceptually perfect work from a band at their peak, and proves that no wait is ever too long if the results are this rewarding.

Sum Of All Parts, with its four songs, should leave fans more than satiated until Mark Peters, with or without The Dark Band, enters the studio again.

Spark is brimming with as much heart and soul as technical skill, and it must easily rank as one of 2018’s most flawless folk albums.

Elise is a very strong, confident effort from a musician who is still discovering his image, but it shows a remarkable amount of promise.

Upscale Madhouse is a big step up for the band, and it includes some of the year’s best artistic developments in the genre.

There’s nothing revolutionary about Hardcore, but there’s something obviously admirable about the band trying to change their own community for the better through the power of music.

The tour must have been an amazing experience for Braun, because Through Train Windows is one of her purest and most concise statements as an artist yet.

And We Rise_ is produced on a surprisingly grand scale for an album that was essentially recorded all at home by Graves, and it will undoubtedly serve as one of the most uniquely individual artistic statements in the genre in recent years.

It’s not the deepest of music, but there’s a real artistry to Senior’s definition of fun and you’ll be too busy dancing to think of anything else anyway.

In fact, the title of Hungover is misleading, because the EP finds Psychocide with a renewed sense of creativity.

One could argue that in future, Twisted Oak could use a little more production to prevent it from becoming too singer-songwriter-y, but it’s nevertheless a very strong start.

In a sea of self-released lo-fi albums, Colors of Noise manages to stand out from the pack with style, substance, and quality songwriting.

Nothing’s Wrong is a statement of consummate execution and even bolder vision from a true original.

_Singing You This Song” is an album this will definitely provide a sense of comfort and solace for many.

_Journey to the Centre of Yourself” manages to convincingly depict a subject which is difficult to write about without sounding trite, and it feels like the launchpad for future, even greater artistic developments.

It’s difficult to say whether or not their busy recording schedule is a help or a hindrance to their evolution as a band, but one thing is clear: Into the Light shows Crooked Flower with no sign of slowing down and without want of fun or material.

Save Me will immediately appeal to almost any fan of grunge, and many will be surprised to find there is evidently still new ground to cover in the genre.

All the Water is a fantastic work of craftsmanship, and fans finally are given a perfectly executed example of Montgomery’s unique vision.

If there’s a fault at all here, it’s that the EP feels like it should have been fleshed out to a full-length, but fans, for better or for worse, will have to settle for the satisfyingly alluring five songs the band did produce.

There’s a lot of excitement circling Keep Meaning It (clearly the band felt it too while they were making it), and with any luck this album will prove to be their breakthrough.

Cubicle Zombie is a tremendously tight, fully-formed collection of songs that prove the years of work spent finishing it were worth it, and hopefully it won’t be long before McNabb’s next collection of songs.

It isn’t exactly revolutionary in the genre, but it’s infectious in its positivity, and it’s immediately clear that the EP is the work of someone deeply in love with the process of making music.

What’s remarkable about Strange Curses is that Paragano’s vision has been delivered to her audience fully formed.

New Jersey’s Sam Fishman of the band Madison Rising is back with another imposing solo release, End of Time.

As one would expect, Liar for a Muse is quieter than the work with DeLaurentis’s band, but it’s also much more refined and mature as if the artist has a newfound sense of direction.

We Are The Lights That Will Not Go Out is nothing groundbreaking, but it’s the perfect album when you’re in need of an injection positivity.

Overall, it’s the artist’s personality—a confident expression of both good humor and serious artistic intent—which makes Avenue B such an enjoyable, wild ride that never stops to rest for long.

Of All These Things is a work in which the love and care of the musicians’ craft is evident everywhere, and fortunately the pair is already hard at work on a follow up.

With Isolated Thunderstorms a listener should come for Weiss’s own takes on his New York musical idols, but stay for his sensitive and introspective lyricism.

Dear Absentee Creator shows a lot of growth since Astral Cloud Ashes’ first record, and it suggest a consistent progression of devoted artistry.

Tall Pines & Tangled Vines has an undeniable charm and chemistry which is impossible to fabricate.

Alive isn’t experimental in a nature in which one could categorize it as belonging to the avant garde; instead, it’s experimental on a personal level as she continues to search deeper within herself for emotionally honest material.

Yet Here We Are inevitably carries some of the tell-tale traces of youth, and there’s nothing necessarily wrong with that, but it is undoubted that the band will continue to make great leaps forward as they mature.

Waks’ commitment to treating her subjects with authenticity gives the entirety of Tales from a Room a legitimacy rare among debuts.

It’s only been two years since the debut album of NYC’s Jane in Space was released, but thankfully they haven’t waited too long for a follow up EP.

Maxwell James manage to pack a wide array of human emotion into a very short release, making it a compelling listen from the beginning.

The Sun, The Stars, The Moon, and Me is a dynamic collection with the occasionally brilliant moment, and one is left with a desire for the band to continue to create music in the future under a more unified vision.

Fans of Kicklighter will be anxiously waiting to see what Young will do with an orchestra, but Paper Planes is a bittersweet finale from an artist who clearly still has so much to give to the world of pop.

Ultimately, Romantic Stories is richer and far more fulfilling than a mere travelogue.

As the EP is a little ephemeral, it could use some beefing up, but it remains a touching tribute to a cause which deserves far more attention.

The Official may have been a long time coming, but Halfwait have handsomely rewarded their fans for the wait with an album that encapsulates their entire growth as a band up until this point.

In Your Room is commendable for the risks taken, but hopefully it will be lauded more for the quality of Sebastian O’s songwriting.

Many asked what kind of music would come out of the Trump era, and without a doubt Anatomy is an injection of compassion which we so desperately need.

You’d be hard pressed to find many horn sections today finer than the one in Disaster Relief, and this album comes just in time to remedy this summer’s heat wave.

In just four songs, Cordova makes a bold statement at a blisteringly fast pace with Runaway Summer, and sets a precedent for their next full-length album, whatever that may be.

The covers obviously can’t compare to the originals, but In the Light of Led Zeppelin does a more than commendable job of proving the elasticity of a well-written song and that recording another artist’s work doesn’t have to mean a faithful reproduction.

For an album recorded at a practice space, there is an accomplished aspect to Basement Recordings regardless of its very unpolished state.

By looking back through the history of world and pop music, James Labrosse ends up creating something with Orange Night that is both fresh and exciting.

Ultimately, And the Stars Above is music which one can easily put on in the background while carrying on with one’s day, but it also invites close listening and individual interpretation.

Dork Matter isn’t a great leap forward for The Thirds, but it makes the case once again that they are very capable of writing subtly mature pop with a brand of confessional lyricism rare in their scene.

Strange Culprits captures a band still finding their footing, but there’s plenty of glimpses of a strong, captivating identity to warrant numerous listens.

Brokedown Free Man Blues is ultimately far more accurate of a self-portrait than anything the artist may have planned.

Undoubtedly, The Sandcastle King is starved for warmth, but it remains an absolutely fantastic mood piece which is perfect listening for anyone searching for something similar to the way they themselves feel.

The Smartest Person in the Room is an album that should be paid attention to closely, for it’s full of jokes, wisdom, and surprising moments of heart which can fly by unnoticed.

Ultimately, the true identity behind the beard doesn’t really matter, because Inward speaks for itself as a shining, highly original example of the limitless possibilities of pop music.

It’ll be interesting to see what the extra songs add to Golden Age, but the EP in its present form is a ready-made, tightly coherent package of unadulterated, artful pop.

Stylistically both folksy and jazzy, while Peters’ lyrics are honest and stripped of unnecessary adornments, Spirits is an EP which will attract a wide array of listeners.

It’ll be interesting to see if he will continue this trajectory with an entirely political EP to finish off the trilogy, but the project has already resulted in some of the most potent music in Maged’s career.

The Last Ten Years is caught somewhere in between a statement of transition and a declaration of maturity, and is arguably Hutchens finest creation yet.

What remains is a voice identifiable to her alone in both tone and subject manner, and From the Womb crosses the finish line as a remarkably self-assured minor masterstroke.

Abacaus ends up spreading itself thin ever so slightly, but it nevertheless has many fantastic moments which suggest an even brighter future.

I Am ends up as the perfect title for what is essentially a quietly confident manifesto on a deeply personal level.

Mirror Of Creation III is out May 25th on Baze Records, and it proves the band still has a lot to give to the prog metal genre.

Keys of Mine is the sound of an artist reveling again in being surrounded by the creative atmosphere of like-minded musicians.

It’s impossible to not feel like the EP is just starting to warm up by the time it’s over. It could have benefited by, perhaps, one more track, but what is here shows a tremendous amount of artistic growth and maturity.

An entirely self-made product, the album has a raw, homegrown quality which is superbly produced, and is likely one of his best thematically as it deals with Mathur’s own personal issues from a number of angles, both cathartic and humorous.

If All The World Were Right may very well be a concept album, but if it is, then it’s the most unobtrusive concept album ever made.

It’s an album that resists categorization or understanding, and it constantly morphs and evolves, often within a single song.

What’s so enthralling and relatable about Who Can You Trust is that Leigh sounds like she’s truly singing for herself and no one else, which will ultimately make the EP all the more relatable for so many people.

Had The Motor Car & The Weather Balloon been released in 1994, at the peak of the Britpop era, it’s very likely it could have been a much bigger album, but it still stands a set of superbly crafted tunes from a musician with the secrets of British pop running through his blood.

For established fans, Coven will be a welcome addition to the band’s oeuvre, but new listeners might want to start with the previous trilogy to brush up first.

Raven King is an album that is tied to experimentation, and it is this that is ultimately responsible for both its successes and its (relative) failures.

The album will be a treat for fans of the California country-tinged folk of acts like Jackson Browne and The Byrds, and Gibbons’ soulful, earthy vocals lend an authenticity to songs coated in a thick layer of dusty Americana.

Whatever is an album that is rough around the edges, but perhaps that’s the point and it’s all the better for it.

Wolf In The Fold, in fantastic, explosive pulsations, hearkens back to the rawer, unbridled history of the Wild West—a history which is in many ways fabricated, and in doing so the band’s music adds to this mythologizing.

si,irene is really fantastic at blending both arty angularity and indie pop melodicism, and this commitment to confronting preconceived musical ideas is at the forefront of their existence as a group.

for(e)go is an important first introduction from a musician with an original and compellingly fresh perspective.

In reality, If You’re So Smart is actually much closer to art pop disguised with distortion than anything else, ultimately creating an experience that only reveals and intensifies with closer listening.

True Dimension is a must-listen for anyone who loves Yankee Hotel Foxtrot, but most importantly it only heightens the anticipation for the inevitability of a full-length from Seneko.

Solipsis is one of Negativehate’s greatest releases yet, and represents a coalescence of everything they have stood for over their long existence.

Oculus is at once disturbing, unsettling, and the tension at times is unbearable; but it is most importantly a work of art that will stay with the listener long after it is over.

Resist is a bold and brave conception that is expertly executed, and it will undoubtedly stand as one of the modern era’s first major political artistic works.

Distant Echoes & Close Encounters will undoubtedly be remembered as a great leap forward for Aurganic, a band unafraid to step outside of their own comfort zone.

It’s highly probably Universe in Bloom will win over a lot of new fans for The Great Escape, because the band’s spirit and this album’s charm is ultimately irresistible.

Regardless of whether it will prove to be a transitory record or the end of one individual chapter in the band’s history, Relevant Noise will stand as the testament of Night Herons truly coming into their own.

A Sequence of Waves is no doubt a challenging listen that one can’t simply put on in the background, but it is a work of art that rewards the open-minded listener with close, repeated examinations.

The Empire of Deception builds significantly on Westward’s debut album, and sets them up to be the latest torchbearers of the power trio tradition.

Live at Lazybones captures something revelatory about Cullen, and it’s that as good as his studio albums may be, it’s very likely the best way to experience his music is live on stage.

It’s undeniable that Songs on Fire is more or less the artist’s debut album, and at times this naivety bleeds through, but it also remains a remarkably well-constructed product that is as catchy as it is dramatically produced.

Not About Nightingales has captured American folk music in a way that countless other musicians have failed to do, and with any luck, many of these songs will become standards in their own right.

If Wizard rock, and the proliferation of Harry Potter bands in recent years is anything to go by, one can only hope the successive Shrek-themed musical acts are at least as half as talented as Shrek is Love.

Only time will tell whether The Stangs are a band born in the wrong time or if they’ll lead the charg of a new revivalist movement, but American Sessions will nevertheless stand on its own merits.

Their second and latest album, Waltz to the World, is a strangely jazzy affair that combines various elements of both prog and left-of-center pop in a catchy yet artistic way slightly similar in vein to XTC.

To anyone, it is immediately clear that Weezer is a large influence on Lochness Monster, but the band’s slightly more progressive and serious than the pseudo-heavy metal pop punk lyricism of Rivers Cuomo.

Tonight We’re Alive isn’t music one can analyze endlessly, which is exactly why this record sits firmly in the long tradition of corporeal rock and roll.

The record occasionally slips into territory that hints at a purely cursory glance at 1984, but Power remains a fascinating first glimpse at a trilogy that can only be fully appreciated at its eventual close.

Veseria is entirely comfortable combining elements of punk, rock, and folk, and they have never sounded more confident and relaxed in the studio, while showing an attention for detail that, thankfully, doesn’t entirely erase the band’s scrappier edges.

Perhaps, it’s an album that would work best without the somewhat confusing concept, but the songs are strong enough to nevertheless stand up on their own.

Winn isn’t afraid to dig deep on tracks like “Better Friend,” and consequently, he comes out with something truly inspired and pure.

With any luck, Dirt Church will put Groupoem back on the map and introduce them to an even larger fan base than ever before.

Sonically speaking, the band effortlessly combines the folkier elements of The Grateful Dead with the power pop of groups like Tom Petty & the Heartbreakers and a harder blues rock edge à la The Rolling Stones.

American High still sound like a band just beginning, which makes this such an exciting and enthusiastic debut.

Late in the Night is a wonderfully fresh concept, if only a slight addition to the artist’s larger body of work.

Overall, Cooper’s goal is an energetic one, with the ultimate aim of getting the public to “start engaging with the problems around them in an attempt to make a positive change.”

One should hesitate in calling Theotokos a concept record, but drug addiction and how it effects both the user and those around them is a theme that repeats on many of the songs.

Arrival doesn’t show a tremendous amount of growth in Space Motel since their last full-length, but it does show them just as strong with no sign of slowing down.

Frame of Mind has a wonderfully charming home grown sound that perfectly suits Sam Levin’s quietly confident style, and should easily turn out to be surprise indie sleeper hit.

Although there exists definable cornerstones, the band thrives more in that vague no man’s land, that abstract Venn diagram where goth, cabaret, vaudeville, and the circus all intersect.

Flach’s Empty Mansions, is a concept album about division and confusion in the modern era, and is the culmination of a long series of attempts and experiments by Flach.

Breakthrough is an album easy to enjoy and hum along to what’s on the surface, but dig a little deeper and you’ll find a work rich in complex emotional content.

The Long Dark Road may have too much shoegaze in it to satisfy traditional metal fans, but has enough merit to attract newcomers as well as those searching for something a little weightier than normal.

In many regards, California Torpedo sounds like a debut album. It’s the work of a band that is still searching for its footing, but it’s also a work of unquestionable merit when the pieces fall perfectly into place.

Their third and most recent album, Famous Monsters essentially follows the pattern of the previous two, but it finds a band at their peak, and if not, at least very close to it.

Listen to any song from White Oak & Kerosene, and you can immediately sense the dirt caked on Allen’s hands, and the cheap, hard-earned whiskey on his breath.

Singer Bonomo’s vocals have a timeless soulful quality; not designed to stun with prowess, but commune with an introspective intimacy rare today.

On their fourth full-length album, there’s no big shake ups in terms of style, but rather the band continues to explore the darkest corners of their own trademarked sound and expand the fullness of its production.

On their debut EP, Ocean Blues, this band from Bristol, UK manages to combine the sunniest of vocal harmonies with the gloomiest of Gothic melodies.

Music Under Sea has neither an entire foot in the music of the 60s or the pop today it inspired, but will nevertheless have fans who love either.

On his debut album, Too Close to the Noise Floor, released last year, Antony Walker effortlessly combines the weirdness and constancy of The Pixies with the larger-than-life pop of XTC.

Alien Angel Super Death doesn’t willingly give away much at first, but it generously rewards listeners who readily approach it with complete emergence.

King Ropes, an indie garage band from Bozeman, Montana, effortlessly couples the inventiveness of The Pixies and the alternative country twang of Wilco with remarkable results.

For a set of solo recordings, it certainly doesn’t play like the work of one individual, and indeed the studio polish gives it a lush, full-bodied feel to the record that only aids Olshefski’s keen pop instincts.

While there’s nothing groundbreaking or innovative on this record, Saul Losada erects the foundations on Energy to set himself firmly in the lineage of blues rock’s most individual guitarists.

Thirsty Hearts is an incredibly relevant and powerful record that speaks directly to the uncertain and transitory impasse in which we are currently living in.

A Little More Country just might be the perfect Christmas gift for the country fan longing for traditional Americana and country that doesn’t entirely sacrifice a modern sensibility.

While Taberner doesn’t as of yet have the most original of voices, it’s clear from the off that Fallen contains all of the makings for one, and all that remains to be seen is where he goes from here.

Dino Jag is a musician who has clearly cracked the code for pop songwriting, and he winningly replicates this formula six times over the course of the simply enjoyable Breakthrough EP.

Purposely recorded with limited technology, Rerun is as warm and tender as it is personal and intimate from a musician with an immediately identifiable voice deserving to be heard.

A concept like this is a heavy one to cover, and by no means easy, but Saint Blasphemer tackles the job with deftness and heart on Simon Templar.

Fallen Asunder occasionally gets lost in trying to sound too much like its influences, but it nevertheless remains a promising debut from a band who have clearly put everything into it.

The Grand Trine isn’t a perfectly cohesive effort, but it’s the sound of a band tightening up considerably since their formation, and truly beginning to find their own voice.

Raised and formed in Atwater Village, Southern California, the five members of Wicklow Atwater have all been friends since childhood, resulting in a long-standing bond and natural chemistry rare for musical acts.

Inspired in part by the Coen brothers’ film, Fargo, Minnesota is a moody post-punk vision of the coldest and bleakest reaches of America.

Bastion of the Los Angeles pop scene, David Steinhart, is back once again with his band The Furious Seasons, but this time jumping head first into a new style for the first time.

Although One Track Mind hails from Norway, their sound actually sounds more like it comes from the suburbs of California or the housing projects of Scotland.

Self-described as having “a punk rock core made accessible with doo-wop inspired vocal lines,” and “a Billy Joel-approved lyricism…” it’s clear the band are comfortable with stretching the genre to its breaking point.

Saskatoon party favorites have been pushing their unapologetic, if controversial, brand of raw garage punk since 1998, and their latest album, Get Off Easy, is no exception to the rule.

Shake It On Down_ rises above the majority of hard rock that deals solely with partying by deftly acknowledging the shadows of life it’s running from.

Night and Day is the result of a band finding their voice, flexing their muscles, and the statement of two musicians learning to deal triumphantly with changes.

A stunning debut, The Last Remaining Payphone in L.A. has all of the possibilities within it to make Logan Metz one of America’s next great troubadours.

London’s The Survival Code straddle the fine, and some would say, oft indistinguishable line between alt rock and punk, much in line with some of their influences like Deftones and Queens of the Stone Age.

Thugs They Look Like Angels is due out October 16th, and is an album that is as comfortably footed in the recent past as it is the present, thriving in both equally.

The album is obviously influenced by shoegaze acts like Low and Sonic Youth, but there’s also a more melancholic gothic element that imbues songs with a Joy Division dirge-like quality.

Although it can be seen as a soundtrack to Chameleon Technology’s live show, Blank Canvas proves to be just as worthy to listeners for its own merits alone.

The democracy and runtime of this album needn’t necessarily have been set to 11, but Music for Mobile Electric Guitars is nevertheless high on concept, ideas, and, overall, execution.

Salt Lake City’s The Departure have attempted a daring feat—bridging the gap between pop punk and prog rock—on their new fittingly-titled EP, Gateways.

I Never Arrived is a misleading title, because if anything it finds Chandler truly coming into his own on what is undoubtedly his finest and most mature work yet.

It’s obviously an extremely heartfelt roller coaster ride and the honesty communicated make FACES one of the year’s more compelling records.

Like the sprouting tree on its cover, Live and Let Go is the product of a musician growing and inviting an audience to join him along the way, making for at once both a captivating and openly honest work of art.

Over the course of twenty songs, Pretty Sweet Stuff offers a glimpse at the sizable and impressive body of work from a musician whose heart is worn on his sleeve at all times.

Come to the Edge finds Tumbler more assured and confident than ever; it also happens to contain some of their best songs yet

Jane in Space, out August 19th on Aion Records, is a record that has been carefully crafted with a sharp attention to detail and the instincts to execute their vision flawlessly.

Influenced by 90’s alternative, singer Sarah Pech’s intimate, breathy vocals call to mind Aimee Mann or Kim Deal, and the grungey guitars and fuzzy basslines are reminiscent of The Breeders as well.

Influenced by the theatrics and atypical dynamics of Kate Bush, My Unwinding State feels like a set of compositions just dying for choreography.

A Temporary Human Existence_ is an album that occasionally struggles and fails to find its footing, but it also shows a band with a lot more to show and an identity that will only solidify with further releases.

Given its occasional schizophrenic nature, it’s possible this could have worked better as a long-ish EP, but the album nevertheless remains the product of a lot of forward trajectory from a still young band.

A shocking amount of ideas and themes are tackled over the course of a very short EP that undoubtedly leave the listener with even more questions about Native Ground then before.

Joys and Horrors is the natural and perfect continuation of the themes and moods first put forth by Joy Division in the late ’70s.

Eric Anders is a singer/songwriter from the Bay Area, who has been releasing consistently compelling and ethereal music since the turn of the century.

Modern Maze is a fantastic new record from an artist currently in the processing of evolving and reinvigorating himself, and it is nothing short of captivating.

Perhaps a concept album in the loosest sense of the term, all of the songs, for the most part, deal with the larger theme of hope, whether approached from a perspective of naive innocence or weathered experience.

Rise of the Sheep is not music that will rock or change the world, but it is definitely a very pleasurable diversion.

For a singer of such a young age, her lyrics show a remarkable amount of restraint and depth, and Love Won’t Make You Cry is certainly the most concise testament to this.

Their newest album, Moments, a follow up to 2014’s The Bunker Sessions, is another winning collection of the bluesy garage rock they’ve come to be known for.

After a three year hiatus, the band is back with their newest full-length, The Unlearning Curve, a moody, Skinny Puppy -esque take on druggy psychedelica.

Linchette Marcel is one explosive debut EP that fantastically teases the full-length that is to come later this year.

There’s a thick sheen to Hot Rumour’s sound, but beneath the manufactured gloss is a keen knack for power-pop melodies and icy, electronic hooks.

Onyx Moon_ is a captivating and cohesive debut from a group that seems to have immediately found their footing.

Like a darker, lost X-Files soundtrack, The 13 Crystal Skulls is an absolute must for any sci-fi or gothic synthpop fan.

Songs like “Bound” and “In A Wasteland” are so doom-ridden, the band sounds as if Joy Division had instead spent their formative years listening predominately to Southern rock and early proto-metal.

The record is a gritty mix of garage & Southern rock, and the blues—a rawer take on the sound exemplified by acts like The Black Keys.

Ronjoism_ is a heavier and more histrionic creation than all evidence first suggests, but the rewards and layers uncovered multiply manifold with each repeated listen.

The album is influenced, somewhat, by the musical variety of old school radio, which is why an experimental slice of R&B like “Rave On” can be followed immediately afterwards by a bluesy rocker like “I Don’t Wanna Fall Asleep.”

A creation almost unlike anything else being made today, The Sun Is New Each Day is an album that is wonderfully one of a kind.

After a handful of EPs, a full-length record, and featured airplay on BBC Radio 2, The Cheek of Her is back with another short collection of songs entitled Black Heart Mantra.

The entirety of Give Me A Groove will feel appeal to fans of funk precisely because it feels like comfortable, well-trodden territory from a musician who expertly understands the ins and outs of the genre.

Relentless as it is captivating, RX is due out April 16th, and if it is anything to go by, the full album it stems from should be nothing short of fantastic as well.

A collection of songs recorded over a four year period, it occasionally feels more like a compilation than one cohesive effort, but it is the reoccurring themes that ultimately bind everything together and produces a captivating document.

Dawn To Dusk doesn’t really break any new ground in the genre, but it’s a solid outing that never once falters from a well-versed veteran of soul and acid jazz.

Inspired by a wide array of post-punk icons like Joy Division, Gary Numan, and Talking Heads, Nix’s vision is like a psychedelic version of gothic rock.

Overall, Dynamite Bouquet is like a songbook of Grogan’s heart, each song a different facet of his taste and personality.

Although songs like “One Last Time” and “Wake Me Up” may seem worlds apart sonically, the common thread is Campo’s acute sense of melody and a strong hook that runs through the entire length.

Rise_ is Randell’s manifesto, lovingly presented and ostensibly recorded with blood, sweat, and tears.

Saddle of Southern Darkness is a surprisingly authentic folk recording that seems to have come out of nowhere, and it is certainly one not to be missed before it retreats back into the shadowy woods.

Ostensibly, the duo’s chemistry is well and clearly still in place, arguably more than ever before, because Between the Earth and Sky is one of their best releases yet.

An album of folk-inspired pop rock, the twelve songs imbue traditional troubadour’s tales with enough hooks to keep the listener humming along.

There’s a distinct *Lynch*ian feel to songs like “Loaded Gun,” proving that the whole EP would make the perfect soundtrack for a smokey, black and white film noir drama.

The prog rock-rooted EP is predominately keyboard driven in a darkly whimsical manner akin to Peter Gabriel era Genesis.

Deister adeptly mixes beautiful moments with the downright odd, turning the album into a captivating experiment in bipolarity.

The lead single “Breaking Through The Walls” is a strutting, flashy blast of sleazy glam, influenced by bands like Queens of the Stone Age and Arctic Monkeys.

If there is a theme driving Wading The River, it can possibly be said to simply be a love of rock and roll, and a celebration of Stormy Mondays’ influences.

There is a wonderful homespun feel to the record, and it plays like a private invitation to a day at his house listening to him sing his little hymns to you and you alone.

New American Century is a fantastic debut record from a duo whose chemistry has obviously been long cemented.

Burns’ wonderfully poetic lyrics just hang like a ghost over a slowly revolving storm of guitars and pianos playing themselves beneath it, sucking you in against your will.

It’s so difficult to stand out from the crowd in indie pop these days, but Joseph Sant has cast himself a defiantly original voice.

The entire record has the potential to become a minor lo-fi classic, and for a debut, Sabo’s vision is incredibly concise and focused.

San Francisco’s CommunionUnion59 are back and this time with a little present just in time for the holiday season.

The Golden Boy_ will have fans of bands like Depeche Mode and The Cure recognizing familiar traces in MPTHY’s sound.

Plum seamlessly bridges the gap between Cream and The Stooges, who are not as far apart from each other as one would immediately think

Songs like “Killed4Profit,” and “The Game” are slick and stylized R&B, but synthetic and feel eerily sterile—like a choir of robotic computers composing soul music.

For part time musicians, Chickenpox Party have created a wonderfully focused and conceptually solid release.

Hatton writes as if he were a storyteller or a traveling troubadour collecting tales, and his painterly lyricism offers glimpses into little vignettes of everyday life.

The strength of The Nature Of Us is that it doesn’t try too hard to be something more than it is—a collection of pop songs—and in a counter-intuitive way of doing things, actually manages to elevate itself into the realm of true art.

The album is self-described as “a concept album where Pink Floyd meets Blue Oyster Cult and the Phantom of the Opera.”

While you never hear its members speak, it’s obvious Nio is a project of immense passion and drive, because you can just feel the blood and sweat in every single moment on this record.

Roberts is angrier than ever, sounding like the last man at the bar telling everyone what’s gone wrong with the world, and it makes Go By Myself one compelling listen.

Their first album since 2011’s Quarry, Big Man is a throwback to the classic, streetwise R&B of the dirtiest, grittiest, and most soulful variety from the 60’s.

The songs on Old Sea Brigade are more impressionistic and evocative than anything concrete, like traditional pop songs blowing gently by you on a passing breeze.

Inky Ovine is as wonderfully inspired and individual as any other record this year is likely to produce.

he album is a quirky and inspired take on blues and folk, and it’s the sense of individuality and personality Evans injects into it that makes it so distinctive from the herd.

In giving punk’s sense of unhinged urgency to the somewhat predictable structure of the Delta blues, the band sounds like a raucous, drunken, and unpredictable attack on decades of tradition.

There’s plenty of bands trying to do something similar to this, but what will undoubtedly cause 3 Geminis to stand out from the pack is Carrico’s devotion to brutally, unadulterated emotion and energy.

Burnt Blue, the newest EP from San Francisco musician J Burn, is a modern slice of Americana as homespun as apple pie.

King manages to capture that same indefinable quality of Steely Dan, namely that it’s impossible to pin point exactly what the sound really is.

It’s easy to say Lozk has accomplished something very difficult to pull off, which is to create an entire separate universe for his work to thrive in, while remaining partially footed in cornerstones of world music.

Although not the heaviest nor the most aggressive by far, Five Hundredth Year more than make up for this with a strong sense of melody and theatricality that only intensifies as the extended play progresses.

Argentina’s Robot Garden fuse together bombastic indie rock and stately synthpop for a stylistic, slick approach to pop that seems as artistic as it is ready-made for the stadiums.

As hinted at in the title, Tryptych, is a collection of three songs unified in style, size, and power. Hazani’s sound is as modern as it is nostalgic, like a reexamination of 80’s synth power ballads.

A tower of shimmering guitars infects this album with an anthemic quality while simulatenously remaining dark and brooding.

Stephen Inglis is a folk artist based in Honolulu, Hawaii, and there’s something about the easy going yet passionate quality of his home state that runs deep in the veins of his music.

Rich in lush arrangements, and deep in honest simplicity, Lorentzen’s new album America is the product of someone obsessed and head over heels in love with music.

From beginning to end, the record is one open-hearted confessional from a musician with nothing to prove, because he’s proven it already.

Produced by Manny Sanchez, who has worked with Fall Out Boy, there’s an intimate yet baroque feel to the entire EP, like an orchestra confined to the space of one’s bedroom.

A follow up to 2013’s Time Honoured Alibi, Late 44 is more of the same great power pop Aubrie’s become known for.

From the leaking screams and shouts of the opening track, “The Hydra’s Heart,” the band seems dead set on moving forward even if they have to crawl there inch by inch.

Smokin’ Voyages, out November 9th, is a fun psychedelic treat for any fan of bands like The Grateful Dead, The Eagles, or Santana.

Sonically, Vile Display of Humanity may seem like a bit of a step back for the back, but in reality it is a stripping back to the heart of the band.

Fresh and brimming with life, the music is rarely stripped or lacking accompaniment, and the unbridled passion presented makes Sperry Alan become the role of a punk folk troubadour.

Dandelion Isle is unassuming, and, at times, slight, but it consistently proves to be another thoroughly enjoyable addition to moduS ponY’s already impressive oeuvre.

With clever wordplay and vivid imagery, Richard Grace’s songs express sentiments like an impressionist painting.

With almost twenty songs clocking in a total of just forty minutes in length, the four piece bring an explosive, brutal force to the mix on their new album, Present Day Plague.

My Depression Is Always Trying To Kill Me is a beautifully emotional and well rounded work from a musician who wears everything proudly on his sleeve.

Winter Calling creates a cinematic, grandiose version of progressive metal, like an epic soundtrack to a film not yet made.

Unassuming yet full of charm, This Book Belongs To is out August 25th, and without a doubt worth getting acquainted with.

Grumsling is a group of indie rockers from the Oakland area, and have just released their new EP __A Church, On a Boat, In the Sea,_ a follow up to last year’s Full Coverage.

After recovering from a spinal cord injury that left him for a time paralyzed, he is back with his new solo album, Love, Lust, and Genocide, which is imbued with a sense of spirituality inspired by his struggle.

Chicago’s Matthew Santos has the kind of voice that stands out immediately and exists only a few times a generation.

DELTA DEEP is Collen’s mission to bring blues music closer to its roots, and although the music feels newer and modern, it’s raw and emotionally powerful, and the lyrics remain tried and true to blues’ origins.

Chronicling an odyssey across the highest mountains and darkest valleys of American music, 9 to 3 sounds like a love letter from Mathur to all of his favorite musicians.

Ghosts of the West is an imaginative and bold creation, proving yet again that covering songs can be not only a channel for self-expression, but an art form in itself.

With a sound influenced by hip hop but stylistically closer to folk, the band isn’t entirely dissimilar to early-era Beck.

Influenced by neopsychedelica and shoegaze, their lo-fi sound is based less on actual definable instruments and traditional melodies or rhythms than textures, emotions, and sensations.

Single Drops_ is a great introduction for any newcomer of Luca Bash’s music, and will only serve as an excuse to delve further into his discography.

By no means something to put on the background and forget, Own Your Ocean is an enthralling and beautiful sucker punch straight to the gut.

The sound is rawer and harder than before, and there’s less of a focus on soulful melodies here than just pure grooves.

Mirage is a bold and admirable attempt at a modern rock opera, and for the most part it succeeds magnificently.

This EP is the story of a narrator who remains cautiously optimistic in spite of everything he has seen and been through.

Tetra’s voice, like her music, is soulful and bluesy, a feat rare in a genre notorious for regularly being devoid of both.

My Love is Strong is an incredibly welcoming record, inviting the listener to immediately fall head over heels in love with the band and their music.

The band has a remarkable quality of being able to dance from sound to sound and genre to genre without ever coming across as fickle or schizophrenic.

The songs here reach into the darkest corners of psychedelic and classical music, combining, stretching, and distorting the two to the point where you wonder if this is really music at all.

Influenced by the likes Bon Iver and Sufjan Stevens, Benjamins dutifully follows in their footsteps while quietly carving out his own path.

On their newest album, DigiBites, release April 1st, these EDM influences are brought to the forefront more than ever before. It’s easy to say this is the most straight up dance record, while previous offerings showed a more prog-side to the genre.

Nic Nassuet*is a singer/songwriter from Hollywood, and has just released his new gothic folk album, Eleutherios. There’s a strong air of 80’s gothic bands like *Bauhaus and Sisters of Mercy throughout the album.

The band is influenced by the likes of Matthew Sweet, The Posies, and other denizens of 90’s alternative/power pop, and a firm standing in Nashville country also augments the sound of Gretchen’s Wheel.

Tabloid Tales will be released April 28th, and if you’re looking for an original, fun, and occasionally pensive soundtrack for your upcoming summer parties, I highly suggest checking this out.

The album is a visceral combination of punk and progressive rock, taking two genres that at one time were diametrically opposed to another in both ethics and style. But weirdly it works, sounding as if Television had more of an interest in King Crimson than the Ramones.

Little Shells is the project of Brooklyn singer/songwriter Conchita Campos, and her new album, 5 Deep Under is a grand, tour de force of orchestral pop. Grand in the way they don’t make albums anymore.

Riding upon their credo, “I don’t like my future,” the band deliver a heavy hitting, bluesy, and hedonistic rollercoaster ride. Their sound captures the darker side of 60’s garage rock from The Sonics to The Monks.

Chloe’s melancholy singing and lyrics would be considered maudlin by even the likes of Morrissey, and the jangle of the guitars brings to mind a slight touch of Johnny Marr as well.

The Great Game is like taking a flight to every continent and realizing there are very little fundamental differences after all.

Postcards From Berlin sounds like someone plucked all of the *Martin Gore*-sung ballads from Depeche Mode’s discography and compiled them into one collection.

Scandavia’s Artur U & the New City Limits certainly manage to carve out a sound rarely approached as found on their debut album. The band is like a post punk vision of proto punk, as if Iggy Pop were to front an act like Wire.

Ape Men combine the repetitive synthpop of Neue Deutsche Welle artists like Deutsch Amerikanische Freundschaft with the sleazy guitars of Songs of Faith and Devotion era Depeche Mode.

The Madrean is an enthralling, stunning work of art that never manages to shake your captivation, leaving you with a sense of awe.

Moodswings is a massive step up for the band and an amazingly well rounded collection. It carries with it a cohesive, solidified identity, finally allowing the band to stand out on their own

What Keeps Me Going is an unassuming collection of songs, so while the merit may not be screaming out loud at you, the charm and fun of the album only grow increasingly with repeated listens.

Similar to a group like Television, Winchester Revival take droning melodies and guitar proficiency and apply it to a punk or post-punk frame.

Their hard rock signature remains, but interestingly enough they have started to sound like a tougher, meaner version of No Doubt.

The overall sound of the album is remarkable for the work of one individual; it’s scope alone could be chalked up to entire studio of session musicians. Involuntary Memories is certainly one memorizing and engaging listen from a voice deserving to be heard.

Music like this sounds like it easily could have been born out of the Laurel Canyon in the late 60’s/early 70’s. Ghosts of The Grateful Dead, Gram Parsons, and early Neil Young haunt these songs, and the band was smart to listen to them.

Dust on the Radio* are a quintet from Los Angeles, interweaving New Wave and Post-Punk influences from the 70s and 80s for a dark and sleek effect.

Eugene is a fantastically original release from just as unique of a performer.

It’s so rare these days to get warm and beautiful close harmonies in a classical country style, not unlike The Everly Brothers and CommonUnion59 do not disappoint on their new album.

A Pennsylvanian musician set to release his new album, I’ll Be Fine, Jano could have easily been found amongst the folk revival of the 50s and 60s alongside artists like Pete Seeger and early Bob Dylan at his folkiest.

Unbelievably, Dave Plaehn is not a pseudonym for Todd Rundgren, although their breathy, sweet vocals are almost identical.

Madrid’s The Kiss That Took A Trip is the solo project of M.D. Trello. Inspired by the likes of Brian Eno and Steve Albini, Trello has released a new experimental album, Electroforest.

Anne-Simone always sounds like she has one foot planted firmly in the future and the other in the past’s idea of the future, making for a fascinating melding of sounds.

At first sight—or rather first sound—*i am Love* may appear to be another band in a long line of indie rock groups like Arcade Fire or Fun., but upon listening to them, you’ll quickly realize something isn’t quite right.

The Workers are primarily a vehicle for New York singer/songwriter Dan Greenwald, and the group has just released a new EP entitled Totem. For the relative heaviness of the EP’s cover artwork, there’s a certain wistful and outsider feel to the songs here.

Nate Paladino is a solo artist from Orange County. Like an American Richard Hawley, Paladino projects himself as a rockabilly artist for the modern age,

With Brooklyn’s venue Death By Audio having just closed, many that have found a home in the borough’s D.I.Y. scene are wondering what’s next. While Gowanus’ EndAnd may not wholly be the answer, they certainly provide a visceral breath of fresh air and a sense of relief.

Sydney, Australia’s Michael Cullen is back with his new solo album, True Believer. A post-punk veteran since the 80’s, True Believer finds Cullen growing and channeling more of Nick Cave than the Ian Curtis of his earlier work.

Montreal’s First You Get The Sugar have all the makings to be the next indie darlings. On their new Foreign Lands EP, they show off a stylish, polished brand of pop, injected with a dark and stormy undercurrent.

Join The Car Crash Set is a beautiful, loving glimpse of a band finally garnering the acknowledgement it deserves, handled with extreme care and detail.

California’s Cold Blue Water is a blues rock band in the term’s truest essence. The band sound like Led Zeppelin stripped down to their purest blues element, or Jimi Hendrix in the blues-ier direction he was surely headed for.

On his new album, Descending, Federico Parra seems to approach music just as much from an intellectual standpoint as an emotional one.

There are a million, bazillion bands influenced by the discography of Nirvana, but few ever add something new and different to the mix, which is exactly what The Oxford Coma does; a band influenced by grunge that isn’t grunge at all.

Seattle’s RxGF have come a long way in a brief four years of existence. Since their beginnings in 2010, the band, driven by John Morgan Reilly, has evolved from their first guitar-heavy recordings to slowly sneaking in synths more and more until their present form on their third album.

Electronic R&B artist Joshua Worden is back with his new album Into Fog. Providing 12 new tracks, the Atlanta musician is at the top of his game and better than ever.

The Big Sleep is a musical milieu where pop melodies are ephemeral and last in your grasp for a very short time before escaping forever.

The band sounds like an alternate world where Led Zeppelin had long ago reunited, Amy Winehouse was still alive, and both artists were supporting each other in what could only be described as a dream combination

If this existed when the band’s heroes were at their peaks, it’s possible the EP may not have sounded as magical or unique, but here and now, Cease and Desist is a fresh dose of something we’ve needed for a long time.

On his new album, Naked Tunes, Gonzalez sounds a lot like John Cale’s on his newer releases, effortlessly embracing modern sounds and culture adeptly enough while remaining tied to his past.

QVALIA’s debut album, This Is The Color Of My Dreams, ambitiously explores the electronic soundscapes of the 80’s and merges it succinctly with a modern twist.

Ghost Note Manifest is a thick, sonic tapestry of woven guitars and fiery vocals reminiscent of groups like Fugazi and Queens of the Stone Age.

The world’s fascination with America’s ‘Wild West’ and country music has long been documented, and Australia’s Billy Roberts seems intent on continuing this trend.

Releasing their debut eponymous album, Rival Empire, the group lifts bits and bobs from Phil Collins, Fleetwood Mac, and Michael Jackson to further their idea of using the sounds of the 80’s to create biting social commentary for today.

The opening track, “Far From Over” greets the listener with a wall of sound, awash with reverb and distant, largely indistinguishable sounds lurking in the background that make the song all the more beautiful to the ears.

The entire album is inviting and comforting yet piercing like a warm cup of coffee. Rise Up For Love_ is an album you can sink into immediately, but you’ll be surprised how quietly it’ll immediately affect you.

Like a story from the book of Half Japanese, Witham began his life in music by finding a beaten up guitar in a dumpster, and began to write songs, propelled solely upon a desire to make music.

There’s been a trend of British acts trying to copy certain American sound, something that has always existed and in a reciprocal fashion as well, but what’s unique about The Healing is that they actually succeed.

Brown’s ambitions and unique viewpoints make for a perfectly endearing and charming album, and it sounds so familiar and inviting, and it may just feel like putting on an old, comfortable pair of shoes.

Clocks & Clouds are a three-piece (drums/cello/violin) from Minneapolis, and after releasing their EP The Creation of Matter last year, they are back with a new single, “Aliantha.”

Capital X is either fortunately or unfortunately only twenty six minutes long. It’s so short you can’t help but wonder if there is any territory still left unexplored, yet you may find yourself grateful that some of the sillier tracks fly by.

The Morning Birds, a duo comprised of Jennifer Thorington and Samuel Markus sounding like an earthier, silkier version of Wild Belle are releasing a new EP with a really interesting concept.

Heylel immerses themselves in the classics of progressive rock from later Pink Floyd to King Crimson, adding a more operatic sensibility and touches of heavy metal and Black Sabbath-esque sludge.

When Summer’s Gone combines a hard rock grit with a poeticism reminiscent of someone like Bruce Springsteen and a certain cynicism that can only come from being raised in the rust of an old steel town.

The entirety of Secrets of the Deep! is unlike anything else being done today and it’s perfect for anywhere from the dance floor to your own bedroom.

The album is warm and gently consistent in its approach and feels like a largely intimate experience, as if you’re witness to a private home concert with Mitchell.

Colour is a strong, and consistently fine release by a band with obviously a lot more great things to come.

On their new album Life in Static, the Salt Lake City quartet craft an alternate universe where alternative/pop punk never really left the mainstream charts at all, ball bearing necklaces and lip rips never went out of style, and Scott Raynor never left Blink 182.

If you were to take Bowie and Kraftwerk, and throw in a classical background as well as some modern tastes, you may have the weird brainchild that is this instrumental album.

Beautifully polished, dense, and carefully paced and planned, this single forty-four minute song-album is a grand and ambitious slice of progressive synth pop.

Raised by a single mother who worked in a psychiatric hospital, and in a home filled with schizophrenics and manic depressives, it’s this kind of atmosphere and reality that comes through in every aspect of Wilde’s music.

Goodbye Birdcage—a reference to leaving Toronto for New York— is a fitting reference because it sounds here like Frisch flew out of a birdcage and into the legendary Brill Building.

The covers here are largely unpolished and raw, chugging along at a ferocious pace, and Doncker’s vocals get as close as anyone can to capturing the raw intensity within Wolf’s voice.

To fully understand Random Order’s sound, imagine an alternate universe where The Cramps watched James Bond films instead of B-horror movies.

Featuring politically-and-socially-heavy lyrics, Lovesick Saints give their listeners enough feedback and distortion to please just about every kind of punk.

With the newest folk revival well upon us, it’s rare that any of it is actually good, and it’s even rarer to find it along with the heart and soul of Matt Townsend and The Wonder of the World.

Seth Goodman is unlike anyone else today. His project The Grand Undoing is releasing his new album White Space Flavors and Parties On TV, wherein Goodman combines artists such as David Bowie and The Damned for a truly original and wild ride.

Ready Never’s sound aligns with modern EDM, but their lyrics often slyly subvert everything, even poking fun of those probably dancing along to their own music.

The careful pop production makes this album a much easier listen, and may even distract from what he’s really saying but it’s likely it would have been too heavy of a record without it. It’s heavy stuff, but this is about as honest as it gets these days.

Basquiat is a spiritually and politically charged record, infused with an unparalleled energy courtesy of lead singer Nicholai La Barrie’s poetic delivery verging on hip-hop.

Live from the Scrapheap, an apt title and one that only truly makes sense once the record is fully digested, is just about everything one could dream of for a debut album.

For its ambitions, it’s an amazingly concise and formulated record. Native America makes the perfect first statement for a band in a city where everyone is fighting to make their own mark.

On their debut EP, The Jungle sounds as if you played Prince at one end of a long wind tunnel and listened to it from the other end, hearing a dreamy, altered recreation.

On 73, Falbo sounds like a kid in a candy store grabbing and diving head first into any style that interests him. He is such an exciting musician, it was enough to grab bring famed-Dylan producer Bob Johnston out of retirement to produce this record.

This is a great EP, and it’ll fit whatever mood your currently in, whether you’re looking for something only to put on in the background, or something you want to settle down with and let it move you

Sometimes, you should never find out the influences of a band you really like, as with Wetwood Smokes’, being a cross between AWOLNATION and Mumford & Sons, but they’ve jumbled this all up and have created something fresh and new.

A dance duo influenced by Daft Punk, Tachyon craft interesting, if a little oddball, grooves, interwoven with experimentation and the unexpected.

Books on Fate is the solo project of Adam Dishart, heavily and proudly influenced by 80s post-punk and guitar pop like Echo & The Bunnymen, The Cure, and most obviously, The Smiths.

So many of these songs sound like unearthed treasures from classic rock’s greatest bands, making Breathe Air a fantastic album for anyone unafraid to let loose and get their Dad Rock on.

On his EP, Simon Adams’ influences are certainly of large arena pop, bombastic and saccharine, but his own reproductions are scaled-back and quainter, yet no less appealing.

This self-titled Progressive release by Ras Xix is an overall well-rounded and exciting effort, and it’s especially ambitious for the work of one person.

It’s a sure sign that a group has gained enough of a cult following when they release a remix album, and Godhead have done just that.

We Create is exactly what its title suggests: a charming, unassuming collection of homespun recordings by a couple with a chemistry unmistakable.

DRUNKSOULS are the kind of band that makes exactly the type of music you would think they’d make from their name: a good listen while having a drink at a backyard BBQ or any laid-back social gathering.

Michael Cullen may not be a household name, even to indie music fanatics, but his roots lie deep in Australia’s 90s post-punk scene with membership in bands like The Hardheads.

Amatus is positioned between the experimental and the accessible, as if she purposely isn’t looking for large commercial potential, but she gives everything enough of a pop undercurrent to make even the most avant garde moments extremely melodic.

Culling influences from the obvious bands one would expect from an indie pop group like the Smiths to the more unexpected like Syd Barrett, the band has crafted a wonderfully unique and fresh take on a well-worn genre.

Following up on his last release, A-Sides, Josh Matthews continues to expand his unique take on Leonard Cohen-like folk with a more modern and experimental twist.

Because Epperson’s voice is neither like the monotonous polished throngs nor the overdone gruff roaring of the new folk revival but rather somewhere in the middle, the individuality of his voice adds a unique dimension to his music.

Although only three songs long, Montreal-via-Romania’s Olteanu shows off the competency of his guitar playing and the flair of Franco V’s vocals on this EP immediately.

There are so many aspects flowing in and out of their music—from industrial clangs to the spoken word style of Tennant—that instead of losing themselves in their influences, no:carrier have created something entirely refreshing and new.

From the album, you’d think McCarty is from London, England, not Canada, because The Speed of Light plays like a history lesson of the UK’s last three decades of indie and Brit Pop.

There are others out there today doing the same sort of art pop as Thorpe, but not only has she carved out her own individual brand, while others wile away their time with meaningless lyrics, few are as bold as Thorpe.

Follow truly is a full-album experience, well-rounded, and wholly enjoyable from start to finish, with moments to make you laugh, moments to make you cry, and moments to make you let loose.

Half-Life is another fantastic offering from Mase, and if already a fan, it’s worth adding to your collection, or if a newcomer, it is a perfect introduction. Mase delivers more of her unique take on 70’s New York art proto-punkers like Patti Smith, Television, and David Byrne

Covering ANY Beatles song, much less enough songs to fill the majority of an album, is a decision that must be taken seriously because there are a lot of questions that will come up. MonaLisa Twins have undertaken this challenge with their new album and have ended up with pleasantly surprising results.

Unafraid to do their own thing, or even add influences from other genres, Oakes & Smith have created a fine album with influences of 60s and 70s folk icons like Paul Simon and Cat Stevens clearly shining through.

Vancouver-based indie pop quartet, Lakefield, is calling it a day. After five years and only one full-length album, the band is closing the book with their final release, the aptly titled EP, Swan Songs.

With an album title like Progtronica, it definitely seems like Gumshen is trying to invent a new genre, and they certainly attempt it here.

Howe’s strong voice and her smart, personal sense of lyricism, make her one of the greatest and most exciting musicians in country music today.

The Plum Magnetic explores every aspect and type of jam band from jazz freestyle to the psych-folk of the Grateful Dead and the prog of Yes.

A 150 year old band featuring members of groups like Indigo Girls, the New Mongrels are set to release their first album in over fifteen years.

Including every song from the Ghost Stories EP, Monks of Mellonwah offers more of the same great rock, and they certainly have expanded and more fully defined their sound from their first releases.

Whereas other folk revivalists are content with creating empty anthems disguised with acoustic guitars, Matthews is the real thing, intent on making you think and carving his own path.

Occasionally, Morrone drifts towards the love-it-or-hate-it humdrum of Jack Johnson, but there are enough interesting ideas that this will end up being the perfect music to play to your mother.

The appeal of Summer’s vocals lie not in power or over-doing it, but instead, restraint and inflection. Every word, every syllable is carefully considered, and the result is full of emotion.

Gypsy Pervert is an album beautifully laid-bare and rings of a purity almost unheard of today. Mannequin Pussy is the reason to be excited about music not only coming out of NYC, but anywhere.

Brooklyn/Queens band Beachniks have released their first music video for a special instrumental party mix of “Romeo Chang,” originally off of their self-released debut full-length, In Color, from earlier this year.

Death In June have been called everything from Nazi-sympathizers according critics to staunch liberals coming from their fans. In reality, the answer is lodged somewhere between the two extremes.

I’m sure you know that feeling of being totally excited for a show, and then being swiftly disappointed because of just how terribly the sound is handled. Perhaps, it’s because the venue just isn’t that great, but more often than not it’s simply because of the sound guy.

Easily the most dangerous contaminant in music journalism today, after sexism, is some need writers have to single out a band with an attention span as short as their own album reviews.

Can music writers just stop using words like “cute,” “adorable,” or “twee,” to describe a band’s sound already?

The first time I accidentally ended up in a mosh pit was also the first time I was mistaken for a drug dealer. I say accidentally for I suppose there is no other way to first end up in one other than by blindly stumbling forthright into it.

What truly makes Our House On The Hill a special album is its ever present and overwhelming sense of push and pull between two very different ideas.