Githead – Waiting For A Sign

Swim, 2014

After a half decade hiatus, the bass heavy, hypnotic post-punk and dreamy, angular melodica of this supergroup sounds better than ever. The guitar work is incredible and not far off from the most recent Wire albums (thus Colin Newman’s influence), while the mid ’90s indie-rock feeling is reminiscent of all the bands you loved way back when. Mix some punk, shoegaze, and grunge together, then plug in some post-everything atmospheres and you get this gem.

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Audiomachine – Remixed

Self-released, 2014

Is movie trailer rock a sub-genre yet? If so, AM would be the defining band, as their monolithic sounds and apocalyptic booming will be familiar with anyone who’s been to a theater recently. 18 songs here are reworked with today’s most esteemed electronic remixers, yielding an even more gripping version of their patented sound that highlights calmer moment as well as soaring, thundering build ups.

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Aileen – Come On

Stereoflex, 2014

The duo of vocalist Ellen Schneider and Michael Notges on guitar, the pair flesh out folksy-pop tunes that alternate languages and add breezy jazz influences into an addictive mix. The chemistry the two create is instantly memorable and often intimate, even breathing new life into some classics (a great Cyndi Lauper cover) as well as playful originals. Criminally obscure, this is a tough album not to enjoy, and should bring new ears to Aileen.

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Fractal Control – Disconnection Equals Freedom

Self-released, 2014

Instrumental rock that mixes punk and metal in abrasive, interesting ways, this one is fierce and yet also melodic, where noisy guitar solos, sound bites and gentle pianos paint a mysterious, unusual picture. Though they dip into crunchy post-hardcore moments, they also aren’t far off from intricate prog-rock, then throw caution to the wind with thrashy, chaotic intensity. It might leave you scratching your head in confusion, but also inclined to listen repeatedly.

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Allora Mis – We Were Once

Self-released, 2014

Moody, atmospheric, and meticulous instrumentation keep these five tracks moving with fluid yet unpredictable patterns. Though it would be easy to lump this into alt-rock, which is certainly applicable, it’s also experimental, sonically challenging and soars in a way that your favourite post-rock does. If only the alt-rock of the ’90s had a vision this diverse.

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Whitey Morgan And The 78′s – Born, Raised & Live From Flint

Bloodshot, 2014

Outlaw honky tonk with a raw, retro feel, live songs from the band’s first two albums (as well as a Hank cover) are captured with great sound here. With song titles like ‘Turn Up The Bottle’ and ‘Another Round’ it’s not surprisingly drinking music, but also encapsulates a lot of hardcore country ideals mixed with the dirty rock on their nearby Detroit. Usually live discs are reserved for the longtime fan; here it’s a great introduction, too.

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