Marine Research, “Sounds From The Gulf Stream” (2000 [?])After the tragic death of her brother and Heavenly/Talulah Gosh bandmate, Amelia Fletcher regrouped most of Heavenly for one of her bst albums ever. Fletcher’s trademark jangly/clangy/winsome take on mid-sixties guitar-beat-pop
Mark Lanegan Band, “Blues Funeral” (4AD, 2012)Mark Lanegan’s ‘80s/’90s band, the Screaming Trees, were one of the first, best, and most underrated exponents of the “Seattle sound,” which they framed in a more mid-‘60s/garage/Brit invasion way than their peers. Two decades later, Lanegan’s immense, rich tenor (picture an indie-rock dude who can really sing – […]
Marvellous Darlings, “Single Life” (Deranged, 2011)Here’s something unusual – power pop with serious teeth. Hard-edged attack on melodic, exceptionally well-written garage punk with echoes of prime N.Y. Dolls and Replacements.Try 1, 2, 6, 85/5/12
Mathematiques, “Modernes” (Medical, 2013; original release 1981)Avant-synth-rock from France. An interesting blend of coldly melodic electro-po surface an dknotted off-kilter song structures, almost prog in spots.Try 1/3, 1/ 4, 2/1.
John Maus, “A Collection of Rarities and Previously Unreleased Material” (Ribbon Music, 2012; original recordings 1999-2010)Cool stuff from a dude whose approach to synth-pop is as literal and precise as his approach to album-titling. This distills the cold, alien, perverted yet oddly romantic side of synth-pop to a pure essence.Try 2, 3, 67/26/12
Michael Mayer, “Mantasy” (Kompakt, 2012)This guy is the mastermind behind Kompakt, and everything of theirs I’ve heard is exceptional electro-dance music. This ranges from semi-ambient sounds to moody techno to robotic/funky house and beyond, and it’s all typically excellent.Try 1, 2, 4, 102/14/13
Melanie, “The Best Of . . .” (Buddah, 1972, original release late 1960s)Melanie was the archetypal diva of hippiedom – jubilant, kooky, ingenuous, arms spread so wide to embrace the world she always seemed on the verge of falling over. The musical settings range from nursery-rhyme to barrelhouse rock and roll to acid-folk-gospel mélange to […]
The Men, “Open Your Heart” (Sacred Bones, 2012)This group represents (along with Ceremony) a first attempt at reconceptualizing the angular-yet-heavy US post-punk/HC sound of the late 80’s for our time, and they’re really good at it. Pummeling rhythm-section, thick, seething guitar power, and a solid command of dynamics and melody make for an exhilarating ride. […]
Michele, “Saturn Rings” (Fallout, 2006; original release 1969)Late-‘60s acid-folk outing from one of the most in-demand L. A. studio backup singers at the time, who was also rumored to be a witch, which is pretty cool in my book. Exceptionally shimmering and otherworldly, but with an unusual sense of pop playfulness.Try 3, 4, 104/4/11
Microwave “Psionic Impedance” (ugEXPLODE, 2012)Really good noise-rock that’s able to graft jerky, twisted rhythms onto magma-churning monolithic heaviness, inject it with jolting electro-cacophony, and make it all work as a whole. These guys sound like they wanted to creatively anticipate the collapse of modern civilization and they kind of do.Try 4, 7, 9.7/12/12