Margot and the Nuclear So and So’s, ‘Rot Gut, Domestic’ (Mariel Recording Company)

Still mourning R.E.M.? Richard Edwards’ dark, dense songs will help you move on.
By: Jon Young / March 20, 2012

Housse De Racket, ‘Alesia’ (Kitsune/Cooperative/Downtown)

Bilingual Phoenix-esque French dance-rock duo team with Phoenix producer, get more like Phoenix.
By: Barry Walters / March 20, 2012

Kali Mutsa, ‘Ambrolina’ (Ambrolina)

Cumbia bonds with Bollywood when gorgeous Chilean actor rebrands self as stylish shamanic Gypsy acid queen.
By: Richard Gehr / March 20, 2012

Jenny Scheinman, ‘Mischief & Mayhem’ (Self-released)

Likable NYC violin avant-pop whiz should turn up the heat, reign in the cerebral noodling.
By: Jon Young / March 20, 2012

Spawn of Possession, ‘Incurso’ (Relapse)

Ex-Necrophagist/Obscura members on endless technical death-metal roller coaster, complete with vomit vox.
By: Kory Grow / March 20, 2012

Lil B, ‘God’s Father’ (Self-Released)

No single album by the rapper Lil B matters for the same reason that no single painting by Andy Warhol matters. It's less their art…
By: Mike Powell / March 20, 2012

Meat Loaf, ‘Hell in a Handbasket’ (Legacy)

Even in the '70s, the decade that rendered the phrase "wretched excess" a critical cliché, Bat Out of Hell distinguished itself as the apotheosis of…
By: Keith Harris / March 20, 2012

Choir of Young Believers, ‘Rhine Gold’ (Ghostly)

Killer Danish tenor wails over wistful orchestrations, miraculously links Fleet Foxes to Neu!
By: Barry Walters / March 19, 2012

Melvins, ‘The Bulls & The Bees’ (Scion A/V)

Cluttery triumph-rock of their last three LPs falls in slo-mo neoclassical and dark-ambient wormholes.
By: Christopher R. Weingarten / March 19, 2012

White Hills, ‘Frying on This Rock’ (Thrill Jockey)

Advanced poli-psych meant to melt faces and indict capitalism does better with former than latter.
By: David Marchese / March 19, 2012
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