Patrik Krook
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On this Sheffield indie pop trio's charming sophomore album, Emma Kupa and co. have figured out how to braid together the different corners of their record collection.
Liam Betson, occasional guitarist with Titus Andronicus, reissues two early home-recorded, self-distributed folk albums in anticipation of his first Liam the Younger studio LP.
Reinforcing the melancholy aspect of her work, this dark 44-track anthology of work by pioneering British electronic composer Daphne Oram draws from over 400 tapes she left behind after her death in 2003.
After a decade in the game, the Memphis rapper releases his first major-label album. Guests include Rick Ross, Big K.R.I.T., and 2 Chainz.
Air's soundtrack to the restored version of Georges Méliès silent film Le Voyage Dans la Lune (A Trip to the Moon) finds the duo trying to bring some artistry back into their music.
The longtime San Francisco quartet's fifth album showcases a care and craft usually lacking in indie pop's lesser lights.
The adventurous Brooklyn-via-Minneapolis DJ/producer Brian Lindgren streamlines the touchstones of his 2010 debut on his freewheeling sophomore LP.
This fiery live recording, the first to feature Wire's most recent stage lineup, focuses on the elegantly textured 2011 collection Red Barked Tree.
Citing albums by Kraftwerk, Joy Division, and Roxy Music as influences, the Gutter Twins/ex-Screaming Trees vocalist's first solo album since 2004 incorporates drum machines and oozing synths into the mix.
In the past two years, John Talabot has become an exemplar of a new breed of producers working at the intersection of deep house, disco, and indie pop, and he has carved out his own niche somewhere between the slow-motion theatrics of artists like Mark E and Tensnake, the globe-trotting jewel tones of Four Tet and Caribou, and the psych-pop rush of Animal Collective and Delorean. Across his triumphant debut's 11 tracks, the Spanish producer builds upon his distinctive sound-- bursting with color, nostalgic but never retro, easy-going yet slightly unhinged-- without repeating himself. A kind of happy melancholy informs most of ƒIN, but that unity of mood doesn't get in the way of the songs' potential to surprise.