Barsuk, 2012

Perhaps some of the most talented musicians in indie-rock, M&A hit a creative high here with a dizzying spell of odd time signatures, flourishing rhythms, and atypical instrumental parts. At times it seems on the cusp of disarray, but the meticulous songcraft keep things together seamlessly, each track complementing one another perfectly. Though there is plenty of universal pop flavor buried beneath the sonic texturing, it’s primarily a grab bag of sounds and tones, rarely sitting idle for more than a moment and completely defying categorization.

Ghostly International, 2012

Orchestral pop from Denmark. The second trip to the plate for COYB expands on their wide range of influences, delving headfirst into chamber pop, hushed folk nods, cinematic meandering and all with a haunting, melancholic tinged atmosphere. Most of these songs are lengthy, weaving in and out of quaint melodies and experimental texturing. Not for the listener who seeks out immediate gratification, you’ll need to really pay attention here, as this is a listening experience first and foremost.

Wolf At Your Door, 2012

For a debut full-length that on the surface is a jagged, daunting assault of math-metal and screamy hardcore, it’s a surprise – and to Polar’s credit – that there’s an undeniable thread of catchiness throughout Iron Lungs. Said catchiness is helped along by well-placed group chants and some energetic – hell, almost uplifting – punk rock choruses. That’s not to say you’ll be playing this to your grandparents any time soon, but there’s more here than simply a pulverising record.

Paper Thin, 2012

Straight up rock’n'roll from one of Detroit’s finest, The High Strung’s 7th album is chocked full of classic-rock rhythms, arena rock thundering and wailing guitar leads. A disc that could have been penned in any decade since the ’60s, these guys know their way around a power-pop tune with a buffet of hooks and some serious riffage packed in. Best to make sure no one is home when you play this; your couch leaping air guitar solos will need ample space.

Cafe Del La Danse, 2012

Gypsy jazz and upbeat playfulness from France, this is a lively blend of electro-pop and vibrant swing music from an outfit who were assembled to provide soundtracks to silent pornographic films. While they toss in a couple thumping tracks that would be fitting at a house party, the bulk of this is groove filled and subdued- a soothing listen that is heavy on the electronica and even heavier on the beats and harmonies.

Betterlooking, 2012

Sophisticated and introspective New York based indie-rock with sweet male/female harmonies and an almost classical feel via the emphasis on delicate piano work. Even though the subject matter often details personal turmoil and heartbreak, the music is often upbeat with hooks buried deep in the carefully calculated instrumentation. Ideal for admirers of pensive, moody songcraft – apparently even Leonard Cohen is a fan.

Bella Union, 2012

The new project from Fleet Foxes’ Christian Wargo and Casey Wescott is a gentle, vintage folk affair, taking the occasional step towards brighter pop territory. It’s an expectedly stripped-down sound, with a warm analogue feel to the recordings, well suited to the plucked guitars, and signature floaty vocals and harmonies. Not bad, but mainly for Fleet Foxes fans thirsting for more material.

Neurotic Yell, 2012

Wild glam flavour mixed with driving garage rock, this Los Angeles supergroup brings to mind a more accessible, updated version of The Cramps with some late-period Misfits. With 6 members who all sing, there’s a lot going on here at all times, no two tracks running the same path, with moments of gritty rock-a-billy and even some straightforward guitar pop that could fit a car commercial. The song titles and lyrics all seem like inside jokes or nonsense, though that only seems fitting as this isn’t a disc meant to be taken seriously. The only requirement here is to play loud and have fun.

Vibe Theory, 2012

Vintage sounding rock’n'roll with lots of blues, country and classic rock components, these New Yorkers would be an ideal soundtrack to a campfire, late night on the front porch or a party in the barn. The wordplay is highly emotive and heavy hearted, the musicianship is gritty, energetic and has a spontaneous feel (this was recorded in single cuts to tape). Listening to this made me want to hop a train and ride the rails with my dog. Only 4 songs here, but 4 songs you won’t soon forget.

Partisan, 2012

As odd a combination as it might seem, Wells’ blend of classical music meets raw folk and hip-hop beats is a unique and captivating listen. Not exactly an upbeat affair, the dark atmospheres and often bleak story telling suit the haunting, chilling songcraft, Wells’ seductive voice punctuating the wide array of instruments and random noises. This is indie-pop at its finest- ingenious, mesmerizing, and so, so well executed.

Mush, 2012

Aaaaand relax. Such is the involuntary reaction of your body upon hearing Brothertiger’s – aka solo artist John Jagos’ – debut full-length. Golden Years is ten tracks of slow, dreamy electro-pop (or chillwave, if you will), replete with an echoey wash of vocals, gently upbeat syths, a retro/new-wave vibe, and a forgivable trace of Animal Collective. It never ventures far beyond its beatific bounds, making the record a pleasant if innocuous listen.

I Am Mighty, 2012

Energetic rock with plenty of pop-punk catchiness from the Lincoln, UK quartet. The six tracks of Growing Pains hint at Hundred Reasons, as well as youthful contemporaries like Lower Than Atlantis – like the latter, Lower Lands have a similarly adept ear for melody. Throw in a nifty dynamic streak, and this is well worth seeking out.

Morr Music, 2012

The musical vision of Ella Blixt and Robert Kretzschmar, this pair from Berlin aren’t exactly your run-of-the-mill indie rock duo. Heavy on the organ and drums, the two layer their vocals together amid stripped-down pop harmonies and clever instrumentation. Trumpets, synth and pianos add new dimensions to the songs, the tracks ranging from jangly minimalism to darker in scope on the second half of the disc.

Etxe, 2012

A trio with deep roots in the DIY indie-rock scene in DC, Silo Halo take the energetic post-punk historically embedded in their city and add some shoegaze and art-rock flavor. Ambient and space-y instrumentals split up the quick paced, energetic riffage and the buzzing hooks find the perfect balance between noise and melody with a raw, visceral feel. This is the best record I’ve heard in 2012; find this, listen to it. You will not be disappointed.

Fat-Cat, 2012

A band that comes from a background of being filmmakers highly versed in sound and video design, Breton take that influence and plug it directly into their music. They don’t so much play as manipulate the guitars, synth, drums and laptops to cultivate their unusual blend of electronica, pounding beats and ebbs of layered noise meets polished, sonic riffage. While the first half of the disc has Breton coming out swinging with pulsating and bombastic swells of atmospheric jaggedness, the second half moves toward a darker, more cryptic avenue.

Dualtone, 2012

Somewhere between folk, roots and Americana, this young trio are already being hailed as the next big thing and rightfully so. The songs are charming and instantly memorable, the music genuine and pure, clearly devoid of any studio tricks so that it nearly sounds live, and the warm front porch-style songwriting is top notch. Timeless melodies, fantastic guitar picking and thoughtful wordplay make this one worth a listen. If Whiskeytown picked up some prozac and never broke up, this is what they might sound like today.

Joyful Noise, 2012

Never has an EP had a more appropriate name (apparently in the 19th century, ‘monomania’ was used to describe a “single pathological preoccupation in an otherwise sound mind”) or label for that matter – though the emphasis is more on the Noise rather than the Joyful. Child Bite’s latest 10″ is dischordant, disturbing, hallucinatory, with suitably weird wailing vocals over the angular frenzy. I’m still not sure if I love it or hate it, and that’s probably a reasonable reaction.

TBD, 2012

All the ingredients are here to concoct one of the most impressive indie-rock records in recent history. Reckless pianos, catchy guitar work, space-y atmospheres and Stephen Patterson’s smooth vocals guide the way. Armed with two drummers the musicianship here is beyond intricate, and while initially it might seem cluttered, by the second listen you’re infatuated with the dreaminess, looping synths and memorable bass lines. Indie rock with plenty of grooves and clever melodies- this is a must.

Mad Decent/Downtown, 2012

An energetic pop-dance offering that dabbles in dubstep and R&B with a heavy Jamaican slant. Sometimes emanating radio friendly rhythms while at other times being tailor made for the club, Rusko’s most interesting moments are when he channels a futuristic version of Bob Marley, injecting bass work into classic reggae. Though this is primarily a party record, the addition of sweet female vocals and quieter moments on the second half break up the thumping, anthemic booming.

Phratry, 2012

At 4 songs in over 40 minutes, all instrumental and comprised of a female duo, Palo Verde mesh psyche-rock, sludge-rock, and experimental noise into this swirling, sonic blend of jagged riffage, walls of feedback and skull-crushing drum fills. It never sounds like it emanated from only two people, and the production is incredibly polished, bringing out each instrument to its fullest. The musical equivalent of a steamroller destroying everything in its path, this is some abrasive stuff with some thick grooves amid the slow paced doom-style metal.