At this point Death Cab is more an institution than a band, and one of the lasting success stories in the indie-goes-major label game. With Narrow Stairs, the group’s sixth LP and second with Atlantic, the nature of their sound hasn’t changed drastically from Plans, but the subtle shifting of a band that’s been churning out solid music for more than a decade is evident. The stretched-out wandering melancholy of “I Will Possess Your Heart” starts to really make its case around the six-minute mark and goes upward from there. Super-polished pop gems like “No Sunlight” and the 60’s-tinged “You Can Do Better Than Me” remind us why their last album went platinum while still maintaining some semblance of indie integrity (indietegrity?). Maybe not the place to find the humble little Northwestern band flipping the script and making something unlike anything they’ve ever done before, but certainly more reasons to love this good thing we’ve got going. (Fred)

These punks from England sure are tricky. When you think you’ve got their schtick down, they surprise by lowering a mirror ball to channel Blondie. Similarities with the legendary disco-punks don’t end here: The Long Blondes are also outfitted with an attractive, edgy female vocalist. But this isn’t a Blondie tribute band. Hailing from Sheffield, the same home of Cabaret Voltaire and Pulp, the quintet draws musical influence from the experimental pop scene pioneered in this northerly industrial town. First single “Century” has more in common with “Just Fascination” than with “One Way or Another.” Featuring sultry vocals, and a new-wave synth, this is lithe, danceable pop, appropriate for the slowly approaching warmer days. On “I Like the Boys,” pop sensibilities give way to short, urgent guitars and lyrics comprising of non-sequitur declarations. While not exactly breaking new musical territory here, you will find much to like on Couples. (Carrie)

The thing that makes No Age’s music so exciting is there’s really no precedent for it. Sure, from a distance they look like a two-piece punk band, playing fast music to hordes of excitable kids, but look closer. The layers of atmospheric guitar noise and lopsided samples transcend punk pretty quickly, bringing to mind the more warped moments of Black Dice or My Bloody Valentine without ever really sounding like those reference points. Also it’s pretty hard to find music (punk or otherwise) so obtuse and vaguely dark that leaves such a positive feeling in its wake. Following last year’s Weirdo Rippers, a collection of out-of-print vinyl tracks that felt a lot more like a solid album than most of the records released last year, Nouns is the official debut long-player. Capturing the energy and impossible-to-pin down vibe of those first singles is a daunting prospect, but Nouns delivers and expands. First single “Eraser” bounces an almost neo-hippie guitar line along on a jingle-bell rhythm until everything explodes into raucous noise, gone before you realize it came. The soft and strange atmospherics of instrumentals like “Impossible Bouquet” add a sense of pacing to the record, making room for assaults like “Teen Creeps.” Easily one of the most exciting, original and oddly joyous records of the year already. Extra bonus points for great packaging with 70 pages of photos, lyrics and general weirdness.

No quickie throwaway, Water Curses is a welcome addendum to last year’s spectacular Strawberry Jam, combining the band’s recent penchant for strong melodies with plenty of experimental spazz and noise. The four tracks here were culled from the Strawberry Jam sessions, and you can hear the same crisp production from that album. The title track opener soars with a delightful synthesizer riff and plenty of pop-friendly whackiness, while “Street Flash” and “Seal Eyeing” have a more restrained, laid-back vibe. “Cobwebs” continues in a similar quiet mode but features some strong harmonies and rhythms. At this point in their career, Animal Collective can do little wrong, and Water Curses serves as a brief but wonderful showcase for all their creative strengths. (James)

If the Black Angels' full-length debut, Passover, sounded like the harbinger of an imminent apocalypse to you, then consider this your welcome music to hell. Directions to See a Ghost, the Texas psych quintet's eagerly anticipated sophomore album, is awesomely dark—even more so than its predecessor—and a bit like black metal with soul. Alex Maas and Stephanie Bailey give standout performances on vocals and drums, respectively. His drawly howl and piercing screams will spook the crap out of you, and her crash cymbal will finish you off. Man, do those two go together well! Everyone's in fine form on choice tracks like "Doves" (their version of a pop song) and "You In Color". Directions is aurally expansive but not meandering. Even when the Black Angels really drone out, they do it with purpose, and they sound tight. (Davie)