Porcelain Raft

"Put Me to Sleep" MP3
from the album Strange Weekend
2012
iTunes



It's unlikely that you'll hear a back story as cool as Mauro Remiddi's. Before he began to record as Porcelain Raft, Remiddi traveled from his native Italy to London, Berlin, North Korea, and finally New York. Along the way, he caravanned with the Berlin Youth Circus performing gypsy Klezmer music, created reinterpretations of traditional North Korean folk songs and played piano for an Off-Broadway tap show. He hasn't even had his 30th birthday yet, but Remiddi has more musical experiences under his belt than many artists attain in the length of an entire career.

You might consider Strange Weekend, Porcelain Raft's debut LP, a sonic catalog of these places and sounds: a musical work in constant transit from point A to point B but making lots of side-trips and detours along the way. Genre-wise, it's difficult to pin down: Billowing clouds of dream-pop synths cloak Remiddi's fragile wisp of a voice but against nontraditional partners like tribal drums and jangly shoegaze guitars. The common factor holding these unusual musical bedfellows together is an undeniably catchy melodic sensibility most immediately recalling the hazy pop of MGMT.

Even though many listeners may be struck by the initial similarities, Remiddi's sharp creative wits prevent comparison from being the main talking point here. Lead single "Put Me to Sleep" carries a thin stream of harmonies along on a clattering, cymbal-and-bells drum pattern, the layers of drum samples practically tripping over each other in something that sounds like the delightfully primordial stages of a break-beat song. "Picture," on the other hand, frames a simple, catchy, four-chord guitar ballad in a vast, echoing soundscape.

More laid-back tracks are no less infectious. "Backwords" and "Shapeless and Gone" bathe sun-faded psych-pop songs in ambient synth loops and wailing guitars: lazy, engrossing, like a nap on the beach on a hot day. As relaxing as these cuts are, they would be downright boring if left to roam in the traditional six-minute-plus running time of other experimental acts. Fortunately, Remiddi knows the art of song length, crafting the 10 tracks on Strange Weekend to have space for dynamic development but still fit into a lean, accessible, 34-minute package. The LP's shortness also invites repeat listens, with every play-through revealing another quirk hiding in the framework. It wasn't until my fourth or fifth listen that I truly appreciated how the sleigh bells and glitchy 8-bit blips on "If You Have a Wish" complemented the track's dreamy, astral atmosphere.

Strange Weekend is an album with a finger in every type of pot imaginable: cultural, musical, aesthetic. Most of the time, attempts to capture large swaths of sounds and ideas result in an unfocused mess. But in the case of Remiddi and his "How I Spent My 27 Years Around the World" project, listeners can now witness a rare breed of debut album, one that takes on the lofty task of musical multitasking and succeeds.

~ Zoe Camp, CMJ

Angus Stone

"Broken Brights" MP3
from the upcoming album TBA
2012



Angus and Julia Stone are tacking a well earned break from working with each other having spent the last few years traversing the globe and bringing Australian indie-folk music to the world. But that doesn't mean they're idle with both siblings currently working on solo albums to be released in 2012.

The first track from Angus Stone's latest solo effort was debuted on triple j. The track, "Broken Brights," is available for a limited time to download free via the triple j web site. Stone says on the upcoming solo project: "These writings from the record are of great shift for me in the story telling of these past four years of traveling. Playing this record live is going to be quite a euphoric walk for me. I'm ready at the end of the year to get a rucksack together with a few well needed treasures and a bunch of new and old friends and get to taking off down the road throwing our hats to the wind."

~ Timber and Steel

Bon Iver

"Perth" (Schoolcraft Remix)
remix of original from the album Bon Iver, Bon Iver
2011

White Rabbits

"Heavy Metal" MP3
from the album Milk Famous
2012
iTunes



BY NICK CROW | Jonk Music

Brooklyn by way of Columbia, Missouri indie rockers White Rabbits will be releasing their newest LP Milk Famous this spring. Ahead of the release comes the album's first single, "Heavy Metal."

A funky track, it is very far from "heavy metal" sounding at all. Almost Spoon-esque in the vibe it gives, it is a triumph for White Rabbits. The band uses a combination of reverb, guitar riffs, and pounding drums to set the tone for the raw and unfiltered lyrics. "I'm that collector who's collecting you," croons lead singer Stephen Patterson. The track is a worthy single for the upcoming album. The band has clearly progressed musically and this track is tangible proof.

Milk Famous will be White Rabbits third studio album and will be released on March 6.

Cate Le Bon

"Puts Me to Work" MP3
from the album Cyrk
2012
iTunes



Somewhere in the air above Wales there's a sonic trap tuned to collect whatever errant strains of the psychedelic '70s still tumble through the atmosphere. These are funneled into a still, and converted into the nectar that bands like Super Furry Animals and Gorky's Zygotic Mynci have been drunk on since the '90s. But there's a new face at the font — Cardiff's Cate Le Bon, who sings like Nico over a score that could've been produced by Os Mutantes in their prime. Cyrk is her second LP, and it's rife with blurting guitar, tweaky percussion, interjecting organ, and rolling drums, not to mention the occasional mournful trumpet solo set to formless orchestra noise. It's a lot of loose rhythms and knotted nostalgia, but while her peers would spend an album weaving in and out of proverbial rabbit holes, Le Bon's kaleidoscope is firmly focused.

She's also learned from other travelers. "Puts Me to Work" sounds like Of Montreal minus the mania, and the dissonant notes of "Julia" cut her Krautrock tendencies with a little Pavement posture. Best of all, however, is the unadulterated throwback porn — songs like "Falcon Eyed" and "Cyrk." While the former drops the listener into the middle of a party well-stocked with powders and polyester, the latter saunters like a woman in a sundress, dragging her fingers through a waist-high field. Though Le Bon claims to write her music in the dark, and her 2009 debut Me Oh My was markedly death-obsessed, Cyrk is a bright, airy affair. "I've always loved the movement of the trees," she sings on the titular track, "Find me a place where I can watch the breeze." It's worth staying awhile.

~ Chris Martins, The A.V. Club

Daniel Rossen

"Saint Nothing"
from the EP Silent Hour/Golden Mile
2012



Grizzly Bear's Daniel Rossen is to release a new EP, entitled Silent Hour/Golden Mile, through Warp on March 20. It's set to feature five solo songs, including "Saint Nothing," which you can listen to above. It's a pretty, sparse, stripped-down thing that recalls some of Grizzly Bear's more spacious moments.

The EP was recorded by Rossen in various spaces in New York, with many of the songs taking shape swiftly and in only a few takes.

"Whenever possible, I like just keeping the very first impression of an idea the first take of something," said Rossen of that approach. "You very rarely get to do that because the recording quality is below standard. It's very liberating to just leave it."

~ The Quietus

Lianne La Havas

"No Room for Doubt" feat. Willy Porter
from the EP Lost & Found
2011
iTunes



I have this friend who just can't lie. Sometimes she tries to, but her attempts of conceit are hindered by that crack in her smile; small at first but which slowly grows so wide beneath its own surface that it snaps like a string of a captured helium balloon, engulfing her whole entire face until it dwells quite comfortably in her charming eyes. Lianne La Havas reminds me a lot of my friend. The warmth in La Havas' voice is inviting and confident, mimicking the tone of every instrument she allures and tames. It came as a surprise to me then, that the opening track "No Room for Doubt" on Lost & Found finds this beautiful and sinuous voice singing a sorrowful tale of a love once lost. Some use their sweet smiles as a shield. Lianne La Havas uses hers as a medium to sing through, and yet not a single pair of her teeth grinds against the other. Lost & Found, as the name may suggest, carries consistent themes of acceptance, a lack of regret and embracing of the future.

Yet for all the loss, there's levity to be found within the EP in the form of the jazzy ditty, "Age." Tracking the tales of La Havas' temptations to liaise with an older gentleman, "Age" portrays her voice with the dancing melody it deserves. Though her honest and simple lyrics perhaps leave something to be desired, her voice itself encapsulates the paradox of being so perfectly smoky, and yet innocently clear at the same time. It's very smart, much akin to the sophisticated image Lianne La Havas emits. "Night School" builds on this as a soulful-yet-controlled piece with a groove differing greatly from the preceding tracks, but cements itself as a key piece of her backstory’s puzzle.

Lost & Found ends with a rather out of place cover of Everything Everything's "Final Form", which maybe pinpoints the main (albeit small and fixable) downfall of Lianne La Havas' debut. Though her skill is blatant, her real identity and voice is still in its ripening stages. The songs, although all strong in their own right, wander away sometimes too far from one another. Either way, La Havas' stronger points are indeed very strong and merit both two eyes fixed upon this space. Here's to hoping she'll find a way to amalgamate her charming smile and jazz-influenced taste alongside her dark enigma without tarnishing these rare ingredients that she has arranged for herself impeccably.

~ sputnikmusic.com

Grimes

"Oblivion" MP3
from the album Visions
2012
iTunes



BY NICK CROW | Jonk Music

A lot of times bands are criticized for "overproduction" when making a song. When it comes to Grimes (a.k.a. Claire Boucher), that is what makes her songs so compelling. Her use of reverb and electronic affects combined with charming vocals creates pop songs with quite the edge to them.

"Oblivion" is an entertaining track from start to finish. It begins like a chase scene out of The Terminator with heavy synthesizers creating an immediate panic. What year is this? 1984? 2024? Once you are able to shake the cyborgs, it is easy to realize what an accessible track this is. Grimes' gentle lyrics turn the urgency of the background music into somewhat of an anthem. She even incorporates some traditional instruments into the track around the halfway point. Her successes far outweigh her failures with this song.

Grimes has signed with the record label 4D and will be releasing her newest LP in early 2012.

Lost Lander

"Afraid of Summer" MP3
from the album DRRT
2012
iTunes



BY MAX SIMON | Jonk Music

Lost Lander blossoms outwards from Portland, Oregon – a fertile environment for roses, greenery, and pure music. With the help of producer Brent Knopf, a man by the name of Matt Sheehy runs this new alternative-genre project. Together Knopf and Sheehy developed eleven songs on Lost Lander's debut album, DRRT, released today. Though this album has the emotion indicative of something hugely personal, it holds all the mesmerizing tools to become special to each listener. One song that truly hits deep is the second track off DRRT, titled "Afraid of Summer."

Lost Landers' "Afraid of Summer" winds up its mysterious essence into an orb of potential energy. Inside each powerful twang on the guitar and each flavorful expression of voice, spiritual intimacy gradually liberates with each intense second. Now that I've kept the song on replay around twenty times, I can proudly say that I feel drugged, inspired, awestruck, and stimulated all at the same time. And to be honest, I've become slightly afraid of summer as well.

Fears aside, I am looking forward to hearing more from Lost Lander. The new album has some of everything you need – upbeat jams, clever lyrics, hard-hitting beats, and soothing sounds. It is an eclectic, artistic beginning for this Portland band, and it wouldn't hurt to give them a listen. You'll find something to love in this superb album.

Pajama Club

"Diamonds in Her Eyes"
from the album Pajama Club
2011
iTunes



Composed entirely of Crowded House frontman Neil Finn (who has been producing music since 1976), his wife Sharon Finn, and Sean Donnelly, Pajama Club has released some truly contemplative music on their eponymously titled debut. Their music breaks down the conventional boundaries of the modern alternative scene, and also marks a new stage in the creative development of the talented Mr. Finn.

"Tell Me What You Want" is a vividly stylistic track, and an alluring first sample to start off the album. Finn murmurs, almost whispers, while the simple, yet perfected, percussion and bass guitar pairings make this an effortlessly sexy track. This is when you start noticing that Pajama Club's sound is very similar to Beck, a la Guero. Without even trying, this is a style reminiscent of a cool stranger, one smoking a cigarette with one hand and sticking his other up your skirt. The mood continues with "Can't Put It Down Til It Ends," a song that takes its notes from the New Wave era; it even manages to integrate a pipe organ into the chorus. In every way, subtle, experimental moves such as this just work. Sharon Finn's voice is a perfect accompaniment throughout, soothing in contrast to her husband's sometimes rocky grumble.

The bass guitar, pipe organ, and percussion dominate the remaining tracks, and one can tell the noticeable blues influences in songs like "Daylight" and "Diamonds in Her Eyes." Then, just when you feel like you've figured out their sound, Pajama Club throw tracks like "Dead Leg" your way, and suddenly they've mastered psychedelic pop. Pajama Club definitely deserves a listen, if not for its diverse range of sound, then simply to appreciate the creative genius of Neil Finn.

~ Summer Dunsmore, Consequence of Sound

Class Actress

"Keep You" MP3
from the album Rapprocher
2011
iTunes



Class Actress' debut LP, Rapprocher, gives listeners two options for dealing with love trials. The first encourages you to sit in a room with the lights off contemplating the relationships of your past. The second suggests that you take those sad-ass feelings to a bar to dance until you finish an entire bottle of tequila or until the lights come on — whichever comes first. Frontwoman Elizabeth Harper sings about everything from love discovered to love lost over '80s electro-pop beats. Using various vocal techniques, which sometimes make it difficult to understand the lyrics of some songs, she fluctuates from a deep almost soulful tone to a barely decipherable high pitch.

Since the band first hit the scene, Harper has received countless comparisons to Madonna. Seeing as how the icon is one of her biggest influences, it's not hard to see where she incorporated elements of Madge's music. Similar to Madonna, Harper is not a belter. There are no hummingbird songs on this album, so if you are looking for a gut-wrenching, glass-shattering vocal performance, exit stage left. However, if you are in the mood for Euro-club love songs, then proceed.

The album opens with "Keep You," a catchy track that is one of the less dreary songs on the album. "Love Me Like You Used To" follows, a lamenting break-up track. Just as you begin to settle in your broken-heartedness, the album switches gears with "Weekend," an up-tempo love song. It is just as upbeat as the break-up song, so it takes you a minute to stop your wallowing and indulge in this love-celebrating tune. Whether this song is intended to be a cute head-over-heels love song or one for the relationship obsessed is at the listener's discretion, but either way, it's one of the better songs on the album.

At the album's halfway mark the band adds "Prove Me Wrong," which pulls away slightly from the Sixteen Candles mood and will appeal even to people who have little interest in '80s pop. A quick shimmy (yes, shimmy) down the tracklist, Class Actress offers something even cooler: sexual pursuit role reversal. Get your minds out of the gutter—this isn't about being kinky. On this one, titled "Limousine," Harper sings, "Wouldn't it be nice to let go / All we do is talk about it / All you do is say no" and "I don't know if I can wait it out / Are you trying to break me in or break out." It's not often that women sing about being denied in that department, so kudos to her for walking in that territory. The song could also just be unisex since neither the pronouns he or she is used, but that wouldn't be as cool, now would it?

From then on out, Rapprocher remains constant with its themes on love gained and lost and constant with its electro beats, even if the ordering of the songs sometimes feels inconsistent, breaking the flow. Still, this is a solid debut for the highly anticipated band.

~ Taleah Griffin, CMJ

Poliça

"Dark Star" MP3
from the album Give You the Ghost
2011
iTunes



Gayngs was a surprise. Prince-loving indie supergroup who turned out to be legitimately funky? Who woulda thought. Poliça furthers the group’s lineage with more shit that just hits real smooth. Gayngs' Ryan Olson and singer Channy Casselle lead the group, Casselle front and center with her potently echoed voice riding over forward drums and driving bass. "Dark Star," a number with a lot of pensive drum play and the charm of mid-tempo '80s R&B, is from their debut album, full of the same kind of power and unashamed brass breakdowns.

~ Matthew Schnipper, Fader

Lissy Trullie

"Madeleine" MP3
from the album Lissy Trullie
2012
iTunes



Patience may be a virtue, but that doesn't mean it's easy. And after two years of waiting for Lissy Trullie to release a followup to her buzzy 2009 debut Self-Taught Learner, the NYC musician is back with a new LP.

Lissy Trullie takes the D.C. native's artful, slightly-off-kilter sound and gives it a more polished twist, thanks to producers John Hill (who's also worked with Santigold and M.I.A) and TV on the Radio's Dave Sitek. But don't worry, she hasn't ditched her spontaneous vibe entirely. With cameos by tape recorder microphones, drum tracks, and lots of hazy overlays, DIY has never sounded so awesome.

You can buy the album in March, but for now, download the single "Madeleine" above.

~ Liza Darwin, Nylon Magazine

Gotye

"Somebody That I Used to Know" feat. Kimbra
from the album Making Mirrors
2011 (2012 U.S.)
iTunes

Australia-based indie multi-talent Gotye's transfixing "Somebody That I Used to Know" (video) serves as a reassuring reminder that good, old-fashioned pop (of the non-electro-influenced, Auto-Tuned variety) can still be made and beloved on a massive scale.

Recently sitting at No. 1 on the Australian singles charts, the song feels carved from a bygone era in song-craft, riding a gorgeously-paced simmer of subdued vintage '60s pop sounds tocasually unfold a painfully relatable portrait of the distractions of a previous romance's effect on a current relationship and a genius arc that finds you wanting to kick a character who moments before you felt sorry for.

It's first two-and-a-half minutes alone are pure magic: Gotye barely-there crooning the sad tale of a previous union not being the slice of perfect heaven he yearned it to be ("Told myself that you were right for me / But felt so lonely in your company") against the backing track's alluringly nervy spy-noir shuffle, only to make a hard left-turn into douche-land with an out-of-nowhere Sting-like wail of a chorus initially suddenly berate the former partner for bruising his ego so bad by completely disappearing into the ether post-break-up and leaving him with only memories ("But you didn't have to cut me off / Make out like it never happened / ... You didn't have to stoop so low / Have your friends collect your records / And then change your number").

Once featured guest Kimbra arrives on the half-way mark to help fill in between the lines in the role of the new ex-girlfriend, "Somebody That I Used to Know" is elevated to a whole new plateau of awesomeness, her steely cut-down of his behavior in their own relationship providing one of the most fantastic "wait...what?" musical moments in recent memory in its jaw-dropping verse-ending reveal ("You said that you could let it go / And I wouldn't catch you hung up on somebody that you used to know!!!") that brilliantly shifts the target of all his succeeding hook agitation towards her.

All together now: Wait...what? Why can't all modern pop be this structurally, and dramatically, riveting?

~ David Allun Jones, Mixtape Maestro

Explosions in the Sky

"Trembling Hands" MP3
from the album Take Care, Take Care, Take Care
2011
iTunes



Explosions in the Sky's sixth full-length wastes no time in covering well-worn methods: “Last Known Surroundings” betrays a seething underbelly with bright guitar wails and martial drums; "Be Comfortable, Creature" does the same, only slower and brighter — "Let Me Back In," too, but backwards. Effective as ever, really, but it's "Trembling Hands" — think Broken Social Scene, beardless — that feels like the most urgent thing this band's ever recorded, a past and future commingled ecstatically. It's familiar but refreshing, evidence that a dinosaur genre like "post-rock" can still sound vital. Also? The album art turns into a house!

~ Dom Sinacola, Filter