With this, their fourth full-length packed with power-pop for the thinking person, the New Pornographers prove that despite the demands of solo careers and side projects, magic still happens when you can get them all in a room together. This effort is overall slower and more melodic, with fewer of the moments of frenetic genius that marked some of their best songs (“Sing Me Spanish Techno,” “All for Swinging You Around). Instead, we’ve got beautifully harmonized choruses (the guaranteed-to-get-stuck-in-your-head opener “My Rights Versus Yours”) and a couple of surprisingly touching tracks (the bittersweet title track and the sparsely melancholy “Adventures in Solitude”). Its cheeky call-and-response makes “Myriad Harbour” a soon-to-be classic that teases the listener, volleying between the lackadaisical verses and the near fever pitch of the chorus. Challengers is a more adult effort overall, but one that shows grown-ups can remember how to have fun too. (Kaitlin)

One-man electro-pop wonder Dan Snaith returns to Merge with Andorra, a psychedelic-tinged glop of songs that demands obvious but apt references to Brian Wilson and acid-trips. The exuberant wash of noise is far more vintage-tinged than anything he’s released to date, thanks in part to the layered vocal harmonies and intricately crafted melodies, but the subtly innovative electronic edge and spot-on production keeps it fresh. Standouts include the gleefully sentimental “She’s the One,” complete with the most earnest sleigh bells you’ll hear this year, and the sitar-laced “Eli” that sounds straight out of 1967. With his sixth release, Snaith is at his most accessible, but not for lack of experimentation. The sometimes kaleidoscopic sound structure remains firmly rooted to the melody, and the overall bliss-fest is nearly irresistible. (Faith)

This collaboration between two shining lights of underground music – dark-folk empress Nina Nastasia and one of the world’s finest percussionists, Jim White (of Dirty Three) – every bit lives up to the potential of such a pairing. Some of the most memorable lyrics and vocal hooks of Nastasia’s career are showcased by Steve Albini’s immaculate production. “White’s nuanced drumming makes a perfect foil for Nastasia’s sturdy voice, and the interaction between the two is entrancing,” says Pitchfork, who gave the album a Recommended rating. The organic tension created as Nastasia’s gorgeous vocal flourishes and White’s percussive drama take multiple turns in each song’s spotlight makes You Follow Me one of the most memorable and rewarding listens of the year. (Jackie)

The Mekons have been around for most of the past 30 years (there was a hiatus in the early 1980s), and have released almost as many albums, but they still manage to surprise. Not by “going country,” as one idiot reviewer put it – they did that 22 years ago and have returned to it many times since – but by making this quiet, contemplative album. Perhaps, having failed to change the world by shouting, they’ve decided to try whispering. Their bio says they “drank whiskey all night, listened to the rocks and the Stones and tuned into strange old frequencies.” Those frequencies don’t have much electricity; this is mostly acoustic. And while their politics are still firmly leftist, they’re not ranting here – most of the lyrics are actually quite poetic, though in an earthy, unpretentious way. Natural doesn’t hit listeners over the head. It’s a record to lose yourself in, to play over and over and grow attached to, not be overwhelmed by. (Steve)

Los Angeles indie rock band Foreign Born have delivered a surprisingly mature first album, On the Wing Now, drawing influences from many surprising bands. The opening track, “Union Hall,” has a grandiose feel to it, in the vein of the Arcade Fire, with some uplifting chanting and the juxtaposing of a sparse verse and an instrumentally busier chorus. Throughout the album, singer Matt Popieluch’s dramatic singing shines amongst the heavy reverberation and dense harmonies. His blasé vocal delivery on “Into Your Dream,” accompanied by simple pounding drums, bring to mind the Velvet Underground, while the melancholic “Trial Wall” sounds similar to Brit rockers Razorlight. Guitarist Lewis Pesacov’s guitar playing is another highlight of the album, and his catchy high-arpeggio sound is reminiscent of Coldplay’s Jon Buckland. Foreign Born have crafted a solid anthemic indie rock sound with a British sensibility, and their musical future is full of promises. (Morgane)

Denmark dance-pop duo Junior Senior’s latest outing, the quixotically named Hey Hey My My Yo Yo, is a ponderous work – heavy, dark, and laden, like their previous efforts, with erudite philosophical meanderings about such universal questions like “why won’t you dance with me?”, “why aren’t we all dancing?” and “isn’t dancing fun?” Somber and leaden, their Danish dirges reek of the grave and taste like children’s tears. Haha, no way! What would summer be without a new Junior Senior album? Finally available in the USA (it’s been out in Europe for over a year), Hey Hey My My Yo Yo, the album so nice they named it twice, is chock-full of dance-pop anthems like Junior Senior’s huge ‘04 hit “D-D-Don’t Stop The Beat,” also known as The Best Song Ever Made By Anyone Ever. Junior (the petite multi-instrumentalist) and Senior (the big charismatic vocalist) are joined on a few tracks by the members of Le Tigre (including an awesome guest rap by JD Samson), and on another by Kate Pierson and Cindy Wilson of the B-52s (!!). Fancy guests notwithstanding, Hey Hey My My Yo Yo is worth the long, totally unfair wait. While their debut had a few hits, several good songs, and some that were just so-so, Junior Senior’s sophomore effort is more consistent in quality, though more wide-ranging in sound. All the songs here are danceable, hand clappable, and sing-along-able, but they’ve embraced a wider stylistic range than ever before. Hey Hey My My Yo Yo is maybe the closest we’ll come in our lifetime to liquid fun. (You hear that, NASA? The Danes have one up on you.) Junior Senior have made another classic dance record full of sunny harmonies and disco beats that it’s physically impossible not to dance to. Just try it! You’ll see. (Anna)

Before I rave about this spectacular solo record from Eric Copeland of Black Dice, let me confess that I am not the world’s biggest Black Dice fan. In fact, I really don’t care for them at all. But this record is something different altogether. It’s experimental all right, but there’s a pervasive lightness and melodicism in Hermophrodite that sets it quite apart from your typical Black Dice record. It’s also got a wonderfully playful edge, particularly in its use of guitars, field recordings, synth lines and vocal noises. It moves gracefully from noise to abstract ambience without missing a beat, lulling you with hypnotic loops and patterns. Copeland has turned out something very impressive here, creating a sonic masterwork that’s as good as anything from the other heavyhitters of New York’s noise underworld. One of the finest experimental records of the year. (James)

Jenny Lewis’s 2006 release with the Watson Twins further solidified her reputation as the reigning queen of all things charming, witty and country-tinged. On Under the Blacklight, Rilo Kiley’s fourth album, she takes the opportunity to show her range, which apparently includes catchy rock and roll (“Smoke Detector”), horn-laden ballads (“15”) and, surprisingly, disco with Latin flair (“Dejalo”). “Close Call” and the single “The Moneymaker” explore Lewis’s newfound fascination with L.A.’s adult entertainment industry, while the shimmering title track bears the most similarities to Rilo Kiley’s past work. Lewis’s gorgeous, charismatic voice, which is always a pleasure to listen to, ties the album together and consistently proves compatible with her sometimes risky musical choices. The diverse, insightful and danceable offerings on Under the Blacklight promise to take Rilo Kiley to a new level of success. (Kiri Oliver)

Here’s a band headed for big things: Shock Cinema. Their tight, punchy 30-minute EP is one of the most electrifying debuts we’ve heard this year, a blistering mix of punk, power pop, electronica and even a bit of dub. Featuring members of And You Will Know Us by the Trail of the Dead and Rogers Sisters and Dragons of Zynth, the band will appeal to fans of Yeah Yeah Yeahs and Pretty Girls Make Graves.

(Shock Cinema will have its official record release party at Sound Fix this Saturday, August 25, at 8pm. Hope to see you all there.)