Listening to the singles collected on High Places’ 03/07 – 09/07 may flood you with contradictory feelings: Mary Pearson’s vocals and the haziness of the music impart an ethereal mood to the proceedings, but there’s also an unabashed pop sensibility throughout, alongside a surprisingly potent low end. The duo of Pearson and Robert Barber have expanded on that sound for their self-titled debut, and while some of the songs here are rhythmically charged and catchy (“Golden”, “The Storm”), there are also more forays into a drifting, almost ambient sound. These songs also feel more complex than their earlier work; they’re clearly looking to see where the style developed so memorably on those initial singles will take them. The result here is a defiantly textured ambient pop album, with reference points spanning everything from dance music to field recordings to the drifting spatial rock of, say, Califone. (Toby)

The buzz about Max Richter’s fourth full-length album, 24 Postcards In Full Colour, has inevitably been focused on the music’s high-concept underpinnings: consisting of 24 short ringtone-length vignettes, the album was composed not to be played in sequence, but at random – rushing and dwindling like memories, thrown out in clumps to float down like confetti. And while the bite-size tunes Richter collects here certainly lend themselves to such a presentation, both in their short length and their densely evocative melodies (some of the loveliest the maestro has yet devised), as an album, 24 Postcards In Full Colour is a coherent effort that flows splendidly from one track to the next. While Richter’s previous efforts have relied heavily upon spoken-word interludes, samples, and sound-collage, 24 Postcards uses electronics primarily as texture, to bolster the strings and piano that carry thepieces. This approach lays bare Richter’s brilliance as a composer, foregrounding the haunting, nostalgic, and irrepressibly memorable melodies for which he has become known. 24 Postcards is essential listening for lovers of modern classical music; but even more, it is a wonderful stepping stone for those who want to start exploring this rich genre. (Jackie)

Continuing their recent trend towards quieter and more intricately constructed records, Scotland’s finest rock instrumental band may not be breaking any new ground, but they’ve perfected their sound. There are enough of the old-style juggernauts that nobody can say they don’t rock; in particular, “The Precipice” builds magnificently. But “Thank You Space Expert” with its glockenspiel melody is absolutely gorgeous, so beautiful it makes me tear up. The best of both worlds! (Steve)

On its fourth album, Portland’s Blitzen Trapper draws on influences from all over the past half-century of music to create an instant classic. Singer-songwriter Eric Earley is equally at home writing perfect Beatles-inspired pop (“Sleepytime in the Western World”), slightly gritty but mostly pretty Dylan-esque folktales (“Furr,” “Lady on the Water”), and fearless, irresistible rock and roll with squealing guitars (“Gold For Bread”). Earley sings like a man who’s been around the block a few times and has his share of stories to tell. And they’re good ones, too, from a boy who wanders into the forest and joins a pack of wolves to a serial killer pondering whether it’s too late to change. The songs on Furr are surprisingly diverse, expertly arranged and immensely engaging. (Kiri)

I’m not sure there’s any record in recent memory that falls under the category of “grower” more than Brightblack Morning Light’s self-titled album from two years ago. At first, I found the record slow, self-indulgent, aimless and dull. After many months of being forced to listen to the record because of one employee who insisted on playing it every day, I slowly fell in love it. Now we have the long-awaited follow-up from this group led by Rachael Hughes and Nathan Shiney, and it’s another brilliant fusion of blues, psych, folk, soul and dub, and if that sounds implausible, give a listen. The sound is familiar, but there are some changes this round. Backup female singers give some of the tracks a soulful edge, and the slide guitar is more prevalent this time, giving the album a mid-70s Pink Floyd-like edge. Yeah, you’re gonna hear lots of cliches about drugs and this kind of music, and for sure, it’s not to everybody’s taste (but what is, when you think about it?), but I urge you all to give this band a try, because this is a sound all their own, and it’s beguiling and captivating sound.

I’m not entirely sure I buy the premise of this record – that this collection of songs forms a thread that leads to what we now call hip hop – but it’s an interesting idea, and – most important – the music is terrific. Twenty-six songs of blues, folk, gospel, doo wop, boogie woogie, country, soul and early rock and roll from a host of obscurities, including the likes of Little Caesar, Rev. J.M. Gates, and the Soul Stirrers, among many others, dating back to the 1920s and going all the way to the 60s. You hear plenty of scat singing, raw and vivid lyrics and all kinds of interesting rhythms – not your average roots comp, to be sure.

Best new artist of 2008? Very possible. Listening to the debut album from Lia Ices, courtesy of our local Rare Book Room Records, gave me a chilling, exciting feeling that I was not just listening to a good record but indeed the work of a rare and special talent. At the heart of Necima is Lia Ices and her amazing voice and piano. There is a warmth and tenderness to her singing, unusual in its depth and complexity. I’m sure many will compare her to Cat Power, and Ices does indeed possess a bit of Chan Marshall’s scratchy soulfulness, but there’s an aching vulnerability that’s all her own. And the arrangements! This is chamber pop of the highest order, with swirling strings and other acoustic instruments bringing a majesty to the songs. There’s not a bad track on the record, but my favorites are “Healed,” perhaps the most pop-friendly track on the record, the long and rich “Many Moons,” reminiscent of the best of Joni Mitchell’s early-70s work, and the uplifting finale, “You Will.” Ices is joined by some fine talent too, including David Muller of the Fiery Furnaces, Andy Macleod of White Magic and Robbie Lee of Love as Laughter. A haunting and lovely record, one of my favorites of the year. Highest recommendation! (James)

Here’s another excellent release from Rare Book Room, but Palms is worlds apart from Lia Ices in sound and style. This unique duo features Ryan Schaefer and Nadja Korinth, and the two have a unique chemistry, despite the different backgrounds – Schaefer hailing from the midwest (though now residing in the city) while Korinth lives in Germany. It’s Midnight in Honolulu is often lovely and ethereal, but it’s also dark and a little jarring at times too. Korinth’s voice shows great range as well, singing with a Nico-ish staccato in the startling opener, “Der Koenig,” but practically whispering in the shimmering “New Moon,” which recalls Broadcast with its lush sounds. Schaefer also shows a deft touch, particularly in the Yo La Tengo-like indie stomper “Leather Daddies.” In short, Palms draws from a number of traditions, from pop to electronica to Krautrock, but they keep the record focused and interesting and always entertaining. Check this band out. (James)