• Parquet Courts Are Inscrutably Awesome on 'Sunbathing Animal' (Which Does Not Sound Like Pavement)

    Parquet Courts Are Inscrutably Awesome on 'Sunbathing Animal' (Which Does Not Sound Like Pavement)

    Parquet Courts are tough lads to nail down. There are geographical inconsistencies at play: Denton, Texas-based band makes good in Brooklyn. There's lyrical obscurantism masking greater truths: "Death to all false prophets/ Around here we praise a dollar." There's a slacker ethos that at times seems little more than a feint, washed-out production values relegating the bass player to dusty stage corners, eight-minute drum machine stoner fables ("He's Seeing Paths") closing out five-song EPs (last year's Tally All The Things That You Broke). And then there's the band's sound, so alt-rock self-referential it sends music critics into reverie, a supposed apotheosis of indie rock's past and future, beholden to more post-punk scofflaws than any self-respecting record collector might ever hope to catalog, which is ok so long as noise-tune royalty Pavement gets top billing. Pavement, man.

  • Unsung Guitar Heroes Wussy Nail Rust-Belt Americana on 'Attica!'

    Unsung Guitar Heroes Wussy Nail Rust-Belt Americana on 'Attica!'

    Over the last decade, Cincinnati garage/pop/folk practitioners Wussy have refined a winning formula. Every 15 months or so, they break from full-time jobs (stonemasonry, waitressing, special ed), record a dozen-ish songs, play some clubs, then return to their 9 to 5s. Many an indie band can claim a similar bio, but few match the songwriting consistency of former Ass Pony Chuck Cleaver and formerly unaffiliated Lisa Walker.Simply put, Cleaver and Walker write great songs every time out. This uniformity hasn't translated into sales, which one might blame on the curse of smart regionalism (Wussy remains as quintessentially Cincinnati as Skyline Chili) or perhaps contemporary indie's more general disinterest in direct storytelling.

  • The Afghan Whigs Trounce Corgan, Channel Usher on Righteous Comeback 'Do to the Beast'

    The Afghan Whigs Trounce Corgan, Channel Usher on Righteous Comeback 'Do to the Beast'

    Allowing for grumbling from small cohorts of naysayers, it seems safe to posit that the Afghan Whigs have overseen the most artistically successful alternative rock reengagement of recent years (outside of Kathleen Hanna's triumphant 2013 Julie Ruin return, that is). Perhaps you're among the naysayers. You might point to the low bar set by the recent run of remarkably dispiriting '90s alt reunions: the Pixies cycling furiously through Kim Deal replacements, or Billy Corgan noodling away inside Madame ZuZu's. You might roll your eyes at the lothario shtick Greg Dulli's been finessing since 1986. You might ask where in the Christ original guitarist Rick McCollum is.Whatever your protestations, the Whigs have always stood slightly apart from their supposed peers.

  • Jon Langford Questions War, Puff Pieces on Delightful 'Here Be Monsters'

    Jon Langford Questions War, Puff Pieces on Delightful 'Here Be Monsters'

    Welsh-born Chicagoan Jon Langford boasts a unique creative energy, unless you can name another individual who helped pioneer cowpunk (Fear And Whiskey) while contributing artwork to craft breweries (Dogfish Head). But while The Mekons remain Langford's triumph, his enthusiasms spill over into worthy side-projects, from the Waco Brothers to children's music ensemble Wee Hairy Beasties.Langford once self-effacingly referred to his Skull Orchard project as a dumping ground for material deemed "too Welsh," but Here Be Monsters sounds like a fleshed-out band, graced with Mekons-derived musical trademarks, from melancholy fiddle/guitar ("Mars") to Creedence boogie ("Gone Without A Trace").

  • The Hold Steady / Photo by Danny Clinch

    The Hold Steady Reboot Their Sad-Bastard Rock Moves on 'Teeth Dreams'

    Craig Finn's the kind of rock and roller who references W.B. Yeats and John Berryman because he's dog-eared their paperbacks, not just because he likes the way the syllables roll off his tongue. So when Finn named an entire Hold Steady album after Jack Kerouac's On the Road soliloquy about boys and girls in America having such sad times together, you could tell he held the line in high esteem, enough to pit it against the foreboding presence of Berryman the Confessional Poet, who takes the plunge off Minneapolis's Washington Avenue Bridge midway through "Stuck Between Stations." Finn's a smart reader: he knows Kerouac's literary reputation wilts before that of Berryman's.

  • Beck / Photo by Krista Schlueter

    Beck Harvests Some West-Coast-Folkie Sunlight on the Stark, Lovely 'Morning Phase'

    Before considering whether Beck's first album in six years is really Sea Change II (spoiler alert: not exactly), a slight detour into armchair psychology seems in order. No matter what you think of Beck Hansen the artist, be he trendsetter or trend-follower, much of his recorded artistic trajectory seems to derive from early audience encounters when he was little more than a baby-faced cassette terrorist donning stormtrooper masks and riffing surrealistic rhymes about burger joints, the better to keep the hecklers quiet.Unfortunately, the same aw-shucks dada tricks that helped our young Lafayette Park busker gain a foothold among troubadour-wary L.A.

  • Dum Dum Girls / Photo by Shawn Brackbill

    Dum Dum Girls Convene Their Own Dead French Poets Society on 'Too True'

    On their expertly arranged and fleet-footed third album, Dee Dee Penny and her Dum Dum Girls (current lineup: Jules, Sandy, Malia) exemplify what is hereby dubbed indie-rock's Wowee Zowee/A Season in Hell rule. To wit, a) bedroom projects, no matter how lo-fi their origins, soon embrace multi-tracked studio grandeur, and b) all white bohemians eventually discover the French Symbolists.Concerning that first point, Dee Dee's been moving steadily beyond the tinny clatter of her first EPs since signing to Sub Pop in 2009, all those whipsaw guitars crunching into separate channels while her throaty contralto gained heft and distinction.

  • Numero Group's 'Purple Snow' Captures the Pre-Prince Weirdness of Minneapolis Funk and Soul

    Numero Group's 'Purple Snow' Captures the Pre-Prince Weirdness of Minneapolis Funk and Soul

    Midway through Prince's 1985 Purple Rain tour — 98 shows, 1.7 million tickets sold — an innocuous object entitled The Minneapolis Genius appeared in record stores. Credited to 94 East and dominated by instrumental funk jams, the front cover featured a white dove clutching a red rose, while the flip side credited the talents of Pepe Willie and, yes, Prince, who did indeed have a co-write on "Just Another Sucker." But the recordings had been cut in Minneapolis way back in 1975, when Willie brought a 16-year-old named Prince Rogers Nelson into the studio to help beef up some unfinished tracks. Ten years later, with 94 East still stuck in suburban Maple Grove while their former protégé was changing pop history, Willie dumped that first studio venture onto the market.

  • An apparently rare photograph of the Civil Wars standing politely next to each other

    The Civil Wars' Anodyne New Album Could Use Way More Incivility

    "I wish you were the one that got away," murmurs Joy Williams, one minute into the self-titled sophomore album from the Civil Wars, and while the song shimmers with an electricity missing from the folk duo's surprise-success 2011 debut, such mournful reflections on a floundering relationship handily monopolize this group's worldly concerns.

  • Gogol Bordello's Eugene Hütz, kicking that door out / Photo by Dana Distortion

    Gogol Bordello, Big-Hearted Gypsy Punks, Breathe Fire, Radiate Warmth on Sixth Album, 'Pure Vida Conspiracy'

    You need proof of punk rock's cultural relevancy in these defiantly non-punk times? Just consider recent blows against the empire from Russian media stars Pussy Riot (jailed and martyred in their efforts to combat Putin the sexist) and French-Algerian raï superstar Rachid Taha (he of "Rock el Casbah" fame, collaborating again with former Clash members on his new album, Zoom). Both acts claim punk as adopted birthright, even if the embattled feminists in Pussy Riot admirably embrace an Oi! palette that's archaic everywhere outside their home country, while Taha the cosmopolitan merely selects Strummer/Jones fervor as one musical choice among many.

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