The biggest problem with Cheap Sleaze is the unforgivably boring songs.

In revisiting the jagged guitars and measured catharses of ’90s emo-core, this Bellingham, WA foursome trades navel-gazing histrionics for freewheeling pop-punk shoutalongs.

For comprising familiar punk, indie-rock and darkwave influences, multi-generational Olympia, Washington pop-rockers’ two new Tim Green-produced EPs are surprisingly hard to pin down.

I’ll agree with the assessment of Nightingale Floors as a return to form, but not in any way that requires me to whitewash the excellence and weirdness of the band’s recent history.

The sixth studio LP from Femi Kuti, No Place For My Dream shows that not a lot has changed in the world of the most famous son of Fela Kuti – and that’s both good and bad.

Having grown up listening to Klaus Schulze as a child in my father’s apartment, it’s nice to hear my dad’s favorite electronic composer, who subsequently became one of mine, hasn’t lost his touch over his 45 year career.

In Between Tears is back, and it’s a shining gem of 70s soul.

Nothing Can Hurt Me serves as a best-of or, better yet, a great introduction for the Big Star newcomer.

What’s In Between is a smart, vibrant rock & roll record that perfect balances loose (not sloppy) performances with highly-crafted writing. .

For two guys, Noteherder & McCloud sure make one helluva racket.

The effect overall of Only Friend is a very deep aural experience, you can either intently lose yourself within it’s folds or allow it to shimmer in the background of a midnight drive or a hazily intimate evening.

No longer weary with youth, Marty Crandall and friends make a joyous rock ‘n’ roll record.

Young Seattleites Special Explosion have, since 2010, wowed locals with ahead-of-the-curve musicianship, pop hooks and presence. On its vinyl debut, the indie-rock foursome enters adulthood.

Grain is comprised of two 20+ minute tracks that ebb and flow like a Throbbing Gristle outtake.

For me, it’s not so much the message as the sound that gets me. Especially when you hit perfect summer songs like “American Lovers”.

This set, assembled for the Japanese-themed LA shop Popkiller, consists of three CDs and three cassettes, showcasing the various sounds, moods and insanities of the eccentric label, Come Records.

Impressions from inside the time cloud.

Thee mighty World War IX return with their second EP, five more songs recorded by their best lineup to date.

It’s the excitement of being in a band, loving every practice, every wrong note, every show, every argument and loving it so much you never want to do anything else.

Arrington is one of those artists (like his obvious compositional hero Captain Beefheart ) whose work must be taken in as an arc, a traveling trajectory moving through different spaces and examining the muse from myriad angles, some down and rock n roll, some more hypnagogic and trance-worthy.

Once again, Athens, GA’s HHBTM hits a home run, this time with an English band sure to be dominating the Indie charts in months to come.

With the Church on hiatus (maybe), Steve Kilbey‘s ongoing work with All India Radio composer/ leader Martin Kennedy has become his most high profile artistic endeavor.

Texas-based sibling band Eisley return with their fourth album, one that shows a band that has matured greatly since their stunning third album, The Valley.

JC Brooks & The Uptown Sound’s third album finds them eschewing most of the 60s-inspired retro soul of their previous album, in favor of a contemporary style that is much sexier and romantic. This is a very good thing.

With their debut LP, the trio delivers a definitive statement of disenchantment that adds to the annals of great bands from Athens, GA.

It’s rare to find such unpretentious, well-written pop songs crafted with such instinctive ingenuity.

Drivin’ n’ Cryin’ are on a roll with this, their third thematically-linked EP released in the last year. This time, they take on psych-rock, and do so with aplomb.

It’s as much Talk Talk as Leonard Cohen, with a side of Scott Walker.

New artists within the Americana community tend to hold no interest for me whatsoever. I’m pleased to report, however, that the Howlin’ Brothers are different.

Certain victories aside, Grant remains a pretty uncertain guy, the type who just can’t stop being unfair to himself, comparing himself to movie stars, etc.

Hydra, the debut record from Sweden’s Deville, starts like a good hard rock record should – with a turbocharged rush of riffs and muscle.

The follow-up to the post-breakup catharsis that is Kin, In the Weeds finds the former Snatches of Pink leader settling into life as an Americana musician.

There’s a pretty consistent layer of analog filth, but the music as always comes across as immaculately clean, purified by art.

So they successfully got back together and produced some damn good rockin’ tunes that show they’ve still got it in ‘em.

The ever eclectic Instagon take a left turn at jazz, or more accurately, jazz-fusion, on this 20th anniversary release that documents recordings made throughout 2012 with a multitude of musicians.

Where Children of the Vortex, their previous effort for Love Earth Music, was the noise equivalent of an ’80s hardcore punk record, Adrenalflag Cirrosismantis Livormortis seems to have more in common with black metal.

While this is certainly Instagon’s darkest release to date, it is also one of their most powerful – a raw, spontaneous outburst of twisted psyche.

Over-modulated static twists and morphs, creating a wave of horrifying squelch intent on crushing everything in its path.

The second duo to take on the mighty Everly Brothers catalog, the Chapin Sisters offer up new takes on old familiar hits.

Recorded live on the 100th anniversary of the sinking of the USS Titanic, this extremely limited cassette release shows the improvisationally inclined Instagon in a sparse, but powerful, lineup that successfully tackles one of history’s greatest failures.

Luke Winslow-King’s third album is reissued by Bloodshot Records and serves as a great introduction to a talented young man.

Though the A-side is terrific, the B-side “Who Have I Become” might the best song that Best Coast has ever recorded.

Mark Kozelek’s new record is yet another collection of acoustic cover songs, but this one is unlike any of the others. It’s filled with mostly punk songs!

Now on the fourth EP generated from his Children of the Bomb franchise, Matteo delivers yet another superb collection of remixes, reboots and brand new tracks guaranteed to drive all cyber knights out of their coffins and into the glowing neon sprawl.

I could be way off, but it sure reminds me of classic Black Sabbath, going way back to Paranoid days.

High Expectations is about as lo-fi as you can get, sounding like it was recorded on a cassette 4-track in a living room.