Pan American
White Bird Release

(Kranky)

Is that title, like, a reference to how many garage-rawk bands there are out there aping this Atlanta quartet’s shtick? We’re not sure if any Black Lips album could have the same effect as the band’s raucous live shows (beer-chucking, the wearing of underpants on non-appropriate portions of one’s anatomy, etc.), but 200 Million Thousand is probably enough to satiate the Lips’ cadre of fans—not to mention provide a reason for the group to get back out on the road and do what it does best. The band could use an editor, maybe; the disc’s 51 minutes is a bit much for this kind of music (though glass-half-fullers might easily say 200 Million Thousand gives plenty of rock for your buck), and the disc comes with not one but two inserts, including an essay, lyrics and an explanation of each song’s genesis. (M.L. Thrope)

What’s in a name? Here We Go Magic is the new nom de musique employed by indie singer-songwriter Luke Temple, whose previous work was solid if a bit unremarkable. Things have changed: The reborn Temple seems to have soaked up cues and hints from dozens of sources old and new, and this album is so personable and likable we might as well treat it as his second debut. Temple still does pretty much everything himself, so the synth textures and (apparent) electronic percussion shouldn’t come as a surprise; the record’s organic warmth and feeling of wholeness is. Catchy quasi-African rhythms crop up frequently without sounding too much like Vampire Weekend or Paul Simon (you know, the only two other Caucasian artists to ever use such an influence), but in the end, it’s Temple’s unique voice and understated pop wiles that make the Magic. Fans of Yeasayer and the aforementioned artists: Here you go. (M.L. Thrope)

Nothing personal to the city in question, but the words “experimental Chicago ensemble” don’t exactly stir my coffee, conjuring images of needlessly stoic nth-generation Tortoise knockoffs on a free-studio-time indulgence bender. (For the record, I’m not a Tortoise fan either, at least not since Album No. 2.) Those exact words herald All Are Welcome, yet Male—a duo that invited six additional Chicagoland musicians to help create the album—gets it right. The presence on this baby is awesome; All Are Welcome’s four tracks (clocking in at just under 30 minutes) come on alternately soothing and vaguely unsettling, ambient at times and starkly detailed (finely played guitar strings, cloud-loping horn lines) at others. Featuring members of Exploding Star Orchestra, Joan of Arc, Nemeth and Pan American. Hello, Chicago! (M.L. Thrope)

Brand new for (pre-) spring! The latest installment of one of the Kompakt label’s signature series should give you that stimulating life-begins-anew feeling. In fact, Pop Ambient 2009 strikes us as one of the finer editions of the series in years, taking its title to rewardingly symphonic heights. You’ve got your familiar names like Tim Hecker and Burger/Voigt distinguishing themselves as always, but they don’t overshadow Kompakt’s latter-day stalwarts and visiting guests (Klimek—a.k.a. the former Autopoieses, the Terry Rileyesque track from Popnoname and stars of 2008 The Fun Years). From one end to the other, Pop Ambient 2009 represents the best in modern drift-’n-dream music. (M.L. Thrope)

By now, we should expect the unexpected when it comes to new releases from David Madson and his brilliant experimental electronic outfit Odd Nosdam. This Anticon producer extraordinaire has a supple sound, and he’s proven himself adept at hip-hop, funk, experimental electronica and even ambient when he’s in the mood. On his latest, a soundtrack to a documentary about skateboarding, we get more of Madson’s melodic, funky side. Although there’s still plenty of his trademark layers of static and found sounds, the tracks on T.I.M.E. Soundtrack are more song and pop oriented, even downright catchy at times. For those of you who found Odd Nosdam’s last few efforts wanting, check out T.I.M.E. Soundtrack and skate along to the good times. (James)