How many bands can still deliver on their 14th album? (Studio album, at that, not even including live albums or collections?) Not many. Nick Cave continues his icon status with Bad Seeds in tow on Dig, Lazarus, Dig!!, a new chapter in brooding, drunken, menacing and accutely literary rock and roll in the language he’s single-handedly crafted over the years. Cave’s ranting, bile-spewing barritone is in top form, as are the Bad Seeds’ chops, filling in spaces left by lackluster releases of the early 2000’s and also keeping up with Cave’s recent heavyhanded side project Grinderman. Lyrical themes center around journeys out west, death, betrayal and the regular American nervous breakdowns that have haunted and fascinated Cave since the Birthday Party days. A stellar record for any band, let alone an institution with a past of their own to contend with like the Bad Seeds. (Fred)

This is not an improvement on The Decemberists, from whose repertoire most of the songs come (two supplemented with allusions to old songs by Fleetwood Mac and Morrissey). But no matter how much intricate production and arranging is lost by stripping those songs down to just Decemberists leader Meloy’s voice and acoustic guitar, the songs still entertain, and the increased intimacy makes it an interesting tradeoff. And there is one previously unreleased song here, the charming “Wonder” (I’m not counting the snippet of “Dracula’s Daughter,” his self-proclaimed “worst song I’ve ever written”). At first it seemed like there were more, but research revealed them to be songs from EPs, but they do offer a welcome change-of-pace sprinkling of unfamiliar material (unless you’re a Decemberists completist). Plus there’s plenty of Meloy’s dry wit on display in between songs. Essential? No. Endearing? Absolutely. (Steve)

After seven years and four albums of basement-recorded trashcan blues rock, Akron Ohio’s favorite sons The Black Keys return with Attack & Release. The big deal being made about the new record is the seemingly unlikely pairing of the Black Keys’ rough and tumble swamp soul with production from hip-hop guru and Adult Swim enthusiast Danger Mouse. This type of mash-up teaming could come off as a publicity stunt with little substance behind it, but no, the result is the Keys’ best sounding and most perfectly formed work to date. Rather than sacrificing any of the soul power of previous recordings for slicky polished work, Danger Mouse actually pushes duo deeper into the red in new ways. The crackling apart drums of “Strange Times,” the banjo testimonial of “Psychotic Girl” and inventive vocal production all are all evidence of a band growing and mutating without losing sight of the firey rock and roll that made them great to begin with.

Man Man are back in town and they have not lost their ability to write deliciously fractured and volatile song snippets that bring to mind the better periods of Captain Beefheart and Tom Waits. Their third album, Rabbit Habits, is more accessible and features a sparser instrumentation than their two previous efforts, 2004’s The Man in a Blue Turban With a Face and 2006’s Six Demon Bag. However, the Philadelphia quintet lead by demented front man Honus Honus still manages to amaze and surprise the listener with their unusual instrumentation choices, experimental doodlings, and controlled musical chaos. Amazingly, Rabbit Habits matches the energy of the band’s incendiary live performances and this awesome new release is nothing less than a 21st century We’re Only in it for the Money. (Morgane)

Over their ten-year run, Clinic hasn’t evolved as much as they’ve honed a particular sound that encompasses more than a record or two could hold. Much like a lot of their other albums, Do It! is meticulously constructed of rattly vocals, buried references (verbal and musical) to the bands not-so-obvious influences and a kitchen-sink approach to arrangement. Whirring by at just over 32 minutes, the record spills out of itself with a new sound popping up not just on every song, but every few bars of any of the 11 tracks. The pseudo-hippie flutes and tablas of “Free Not Free” give way to buzzsaw guitars and skronky sax on the next track, twee balladry a few minutes later on “Emotions” or Silver-Apples style doom pop on “High Coin”. Clinic’s accomplishment over the years has been perfecting a sound that would come off as schizophrenic without thoughtful consideration and years of refining. (Fred)

The New Bloods’ Secret Life is one of the most impressive debuts I’ve heard this year. This all-grrrl trio from Portland boasts an unusual arrangement: violin, bass and drums (with all three sharing lead vocals), but what a wallop they pack. The basslines are sharp and melodic, while the violin gives the album a rough, frenzied edge. Despite the small lineup, the band brings a variety of sounds to the table, from jagged punk to alt-country to girl-group a cappella. The New Bloods have drawn comparisons to the likes of Sleater-Kinney and ESG, but there are only surface similarities to those groups. To my mind, the band captures the wonderful DIY spirit of early ‘80s postpunk, especially the Raincoats and early Mekons. If I have one complaint about The Secret Life, it’s that it’s too short, not even reaching 25 minutes in length. (Of course, the virtue in this approach is that there’s no filler.) It’s a short ride, yes, but what a ride it is, and if you like your albums tight and compact, you’ll find plenty to feast on in this splendid little record. (James)

This Minneapolis-based indie band’s sophomore album comes two years after their well-received release of The Loon, which left critics comparing them to Pavement. Backed by melodies of epic heroics (which hint at Arcade Fire’s influence) lead singer Josh Grier’s confident voice of authority delivers obtuse lyrics that reach for profundity. A boiling excitement exists throughout and nips at the heels of a vocalist who never betrays his tone of edgy detachment. The experimental musicians are at their best when their sound is unforced, letting the song naturally move through a series of catchy loops. In “Hang Them All” racing drums drive the song along until the building ominous sound erupts into openness, while “Say Back Something” is a tentative love song that asks, “why don’t you meet me in the morning…My arms will meet you in the air.” (Margi)

It’s easy to forget sometimes that songs are important. The amount of energy, money and hype that goes into making a band well-known often overshadows the fact that their songs aren’t that great. Last year Peter Bjorn & John struck a winning combination of good songs and good press, and made a ubiquitous indie pop classic with their Writer’s Block record. Principle songwriter Peter Moren takes things down even further with his first solo outing The Last Tycoon. The arrangements are more spare, but still call to mind everything that made the PB&J record so good, especially the shimmering strings of “Missing Link” or the Dylanesque harmonica solo of “Social Competence”. The best moments here, however, are the most intimate and naked tracks, feeling like the living room demo that was way better than the over-thought final version, and allowing great songs to be nothing more and nothing less than a great songs. (Fred) 

Upon its original release in 2001, The Microphones’ The Glow Pt. 2 was heralded as a silent masterpiece, earning accolades for its lush-yet-uneasy take on bedroom pop music. The critics were right on naming the record a quiet lo-fi essential, but that’s only partially accurate. Throughout the hour and change of the record, there’s an ongoing battle between the elements. Gently strummed acoustic guitars crash into multitracked distorted drums. Indiscernible noise barrages melt into hushed yet discordant choirs. It’s the tension between the endless layers of sound that take this record from an orchestral sadcore offering into the arena of sonic alchemy, something challenging and exciting enough to be just as relevant seven years after its release. The already epic original record is filled out here with a bonus disc of 20 additional songs. Dramatically different recordings of album tracks, songs from the same time and a handful of “destroyed mixes,” done last year and highlighting the layers of dissonance and gentle weirdness that got swept away in the original mixes. The unearthed bonus material along with a much-needed remastering job give a new window into a record that continues to grow and quietly transcend. (Fred)

At first my reaction was “ho-hum, more post-punk revivalists,” but there are so many unusual touches that this is not more angularity-by-numbers. Sometimes it’s a little like Akron/Family chanting Franz Ferdinand songs, sometimes it’s more like the Rapture playing TV on the Radio. There are quirky horn charts, and the twirling, percussive guitar lines sometimes sound like they were transcribed from African 45s (say, Thomas Mapfumo’s chimurenga), or, when drenched in effects (“Red Socks Pugie”), like shoegazers dropped into the middle of a disco-punk-ska party band. There are two bonus tracks to attract fans who already have the English edition. (Steve)

The spa town of Cheltenham in South West England does not seem like the ideal breeding ground for a garage-blues band, but after countless label troubles and the release of several EPs, The Duke Spirit have finally released their first long player, Neptune, produced by heavy rock maestro Chris Goss (founder of the Masters of Reality). On the ballad “Dog Roses” singer/keyboardist Liela Moss displays the full range of her powerful and sometimes androgynous voice, while the catchy “Lassoo” mixes indie rock with an uplifting chorus accompanied by a soulful horn section. The mixture of discordant guitars a la Sonic Youth, inspired songwriting, and a subtle pop sensibility make for a solid garage rock album that brings to mind the best moments of The Yeah Yeah Yeahs and the Detroit Cobras. (Morgane)

Sera Cahoone played drums for Carissa’s Wierd and on Band of Horses’ debut Everything All the Time before revealing her talents as a singer, guitarist and songwriter to the world. Her second album, Only as the Day is Long, is a rich, evocative blend of folk and classic country. While “You Might As Well” and “Seven Hours Later” show that her gorgeous vocals and skillful, rhythmic guitar playing are mesmerizing on their own, she enlists the help of a full backup band (guitar/bass/drums plus pedal steel, banjo and strings) to create a glistening, mournful feel on her slower songs and occasionally provide a blast of power (as on the excellent title track). It’s a very good thing Cahoone decided to step out from behind the drum kit and into the spotlight.

B-sides compilations can be spotty – full of curiosities and outtakes, intended for superfans and completists only – but as Elephant 6 Brian Wilson-worshippers Apples In Stereo proved once, with 1996’s Science Faire, a carefully-curated b-side collection can be a terrific album: with Electronic Projects For Musicians, they’ve done it again. Collecting tracks from 1995-2006 that include Japanese bonus tracks, songs that originally appeared on promotional flexidiscs, label compilation tracks, split seven-inch sides, the band’s website theme song, and one ode to a comedy talk-show host, the collection showcases the best of the Apples’ sunny, fuzzy, harmony-soaked guitar pop. Starting off with the 1996 gem “Shine (In Your Mind)” – how was this a b-side?? – the compilation remains strong throughout, finishing with the much-anticipated and lovely “Dreams,” a previously unreleased outtake from 1997’s Tone Soul Evolution. Even the “novelty” tracks retain the clever lyrics, impeccable hooks and sugary melodies that have carried throughout the Apples’ fifteen-plus-year career to earn them a spot in the indie-pop pantheon. While Electronic Projects For Musicians is essential for fans, it’s also an excellent introduction to this well-loved band.(Anna)