The music on this self-titled debut — with six tracks reaching 47 minutes — isn’t quite as metallic as the members’ more famous bands, but it very much resembles the melodic, epic, reverberated jams of later Isis albums. It isn’t all soft by any means — guitar fuzz still features prominently, and Moreno’s breathy croons climax in throatier howls. The result is weighty and pretty, and for fans of modern post-metal with legit singing, Palms is a name to remember.
Musically, the album ratchets up the fury, adding raging rock solos that wail, squeal, and harmonize on nearly every track. Epic chants, stringed accompaniment, and intros/outros maintain a balance, but the speed riffs operate at full bore. Don’t miss one of the best metal albums of the year.
“The Man I Knew” and “Call Off Your Ghost” set up this relationship, as letters to a former lover are backed by live-band melodicism and skittering kicks, respectively. A bared Dessa lives in her lyrics; each song is another layer shown, her voice alternately purring and cutting. Parts of Speech is a self-portrait: a person loving, posturing, vulnerable, and imperfectly beautiful.
With few guests and production that strikes the perfect balance of deep and minimalist, it’s steeped in the outsider aesthetics that have made these artists’ albums so special. Sounding off balances with Southern gangster posturing for some of the best bangers of the summer and one of the best rap albums of the year.
The rest twists and turns between electronic effects, body-moving beats, and alternately poppy and progressive passages. Slow Focus might be the best electronic album of 2013.
Yet despite the jam-packed riffs and beats, Fleshgod always demonstrates a knack for songcraft, balancing sonic brutality with symphonic strings and brass, marching snares, and piano runs, and alternating death growls with chants and operatic falsettos. The result is utterly epic.
Don’t make the mistake of hearing Chelsea Wolfe’s Pain Is Beauty without a headphone session. The range of sounds and the boost in sonic theatrics are breathtaking — “The Warden,” “Destruction Makes the World Burn Brighter,” and “Sick” offer up Eastern-sounding hammered dulcimers, vocal cooing over dirty and jangly guitar tones, and a dose of Berlin-era Bowie, all within the span of just three tracks.
Wolfe’s new album takes the intimate and creepy ponderings of previous release Apokalypsis and drastically expands and explores the space within each track. Previously, the songs were a collection of confessions told by a flickering campfire; now each track blazes and roars like a cliff-side bonfire.
– Brandon Goei
Man Man: On Oni Pond (Anti-, 9/10/13)
Man Man: “Pink Wonton”
For 10 years, quirk-rock quintet Man Man has delivered hooks, grooves, and throaty croons in a style like no other. The group’s fifth studio album, On Oni Pond, is described as a “band reboot,” merging its Tom Waits-ian, trop-pop weirdness with Talking Heads inspirations, old-school soul, and other oddities.
The album opens with the horn- and organ-driven boogie of “Pink Wonton,” a transfixing ditty. From there, the album blossoms with the marimba-and-bass infectiousness of “End Boss,” the stringy exotica of “Head On” (whose melody conjures Ritchie Cordell’s “I Think We’re Alone Now”), and the synthesized dub of “King Shiv.” “Loot My Body,” a heavy pop number, transforms into a tropical psych-jazz jam; “Deep Cover” is a ukulele-and-brass ballad; and “Pyramids” splices a dark-rock solo into an otherwise upbeat pop offering.
Continuing a streak of each album being even better than its predecessor, On Oni Pond is a wonderful “reinvention” — even if it’s still classic Man Man.
– Scott Morrow
Felix Martin: The Scenic Album (Prosthetic, 9/17/13)
Felix Martin: “Triangle Tune”
No, you’re not seeing double…you’re hearing double as well. Venezuelan guitarist Felix Martin is responsible for a multitude of double-takes thanks to his instrument of choice: a self-designed 14-string guitar (essentially, two guitar necks in one).
With virtuosic talent, he has taken the finger-tapping YouTube community by storm, performing progressive rock and metal with jazz-fusion overtones and elements of funk, world music, and even tinges of video-game and circus music. The Scenic Album, Martin’s second album and first for Prosthetic, is another diverse affair yet still a contemporary to Animals as Leaders and other finger-tapping prog-metal bands.
Speaking of the tapping, it’s nothing short of phenomenal. (Watch Martin’s many play-through videos if you haven’t.) He plays the über-wide-neck instrument like a piano, with one hand handling a bass line and the other handling a higher melody. But Martin also can simultaneously play chords on both necks, slap one and tap the other, or use them both for one mega-riff.
Accompanying Martin this time are rhythmic bass lines from fellow Berklee alumnus Nathan Navarro and bad-ass beats from industry vet Marco Minneman, who can drum for artists as different as Necrophagist and Joe Satriani. Their efforts makeThe Scenic Album more than a one-man show — even if Martin’s uncanny skills steal that show.
– Scott Morrow
Trentemøller: Lost (In My Room, 9/24/13)
“Never Stop Running”
Trentemøller: “Never Stop Running”
On his last album, Danish electronic artist Anders Trentemøller transitioned from the dance world into a more organic, moody blend of analog and digital. Lost takes him one step further, weaving in and out of ambient electronica with another host of guest singers and collaborators.
The album’s highlights are its darkest, most shadowy corners: the bruising industrial thump of “Still on Fire,” the hollow percussion of “Morphine,” and the razor-sharp keyboard conniptions of “Constantinople.” And the guest spots — including Low, Kazu Makino of Blonde Redhead, and Sune Rose Wagner of The Raveonettes — each utilize their respective talents.
– Brandon Goei
Grails: Black Tar Prophecies, Vol. 4, 5 & 6 (Temporary Residence, 10/1/13)
Aping ‘60s-era psych music has become a bit of a cliché – it seems like just about everyone from old punks to young upstarts just discovering their grandparents’ record collections, at some point, grow their hair and a terrible mustache and go through a Hawkwind-worship phase. What most of them miss, however, is that it was the organic newness and spectacle of those bands that made them so appealing. It can’t be emulated, which is exactly the thing that makes the term so fitting and at the same time so confusing for Grails.
The band sounds like five talented musicians from disparate schools of music got together and tried to make something happen. The result is weird, no question, but beautiful and almost cinematic. Guitars and banjos brush up against exotic Eastern instruments while a full drum kit or a single tambourine can lay down the beat. Black Tar Prophecies Vol. 4, 5 & 6 collects the last two volumes in the Black Tar series with the addition of some unreleased material. True to form, the material here is worlds away from what Grails has done in the past, and at the same time typical of its immense creativity and devotion to progression.
That’s what the psych movement was about, and with this record, Grails affirms its torchbearer status.
– Oakland L. Childers
Deltron 3030: Event II (Bulk, 10/1/13)
“Melding of the Minds”
Deltron 3030: “Melding of the Minds”
It’s been a long wait for fans of Deltron 3030, the science-fiction-themed rap super-group of Del the Funky Homosapien, Dan the Automator, and Kid Koala — 10 years if you go by Joseph Gordon-Levitt’s opening monologue or 80 if you believe Deltron Osiris, the new character introduced on this album. Either way, time has moved on, and things seem to have taken a turn for the worse in Deltron’s world — not that you’d know it from the generally upbeat flow of Event II.
There’s a lot of looking back (courtesy of David Cross and girlfriend Amber Tamblyn, as well as Lonely Island, who provide one of the brightest if not corniest interludes) and not much moving forward. Though Del still has the smoothest flow in the business and Automator remains peerless among producers, the best cuts on Event II are the ones that harken to Gorillaz (“What Is This Loneliness,” featuring Damon Albarn and Casual) and Dr. Octagon (“Talent Supercedes,” featuring Black Rob). Event II is the most creative rap record in ages, but — as its production began in 2004 — it conducts its own type of time travel.
– Oakland L. Childers
Chrome Hoof: Chrome Black Gold (Cuneiform, 10/8/13)
“When the Lightning Strikes”
Chrome Hoof: “When The Lightning Strikes”
Proving that the worlds of dirge-laden doom metal and electro-funk death-disco are less than a stone’s throw away, London’s Chrome Hoof prog it up and mix genres into a synth-heavy corkscrew of operatic — er, opera-erratic — rock music on its fourth full-length, Chrome Black Gold.
An ever-expanding psychedelic sci-fi orchestra helmed by Leo Smee (of Cathedral), Chrome Hoof on this album has tapped vocalist Shingai Shoniwa of UK indie rockers Noisettes as a guest on four tracks. Similar to that of Royal Thunder’s Miny Parsonz, Shoniwa’s voice is powerful but sultry.
On “Varkada Blues,” her hypnotic, lounge-swaying enunciations are a disarming foil to the guttural growls of another guest — Jeff Walker, the current bassist/vocalist of Carcass. The song is a good example of the genre blending for which the band is known; everything comes together in a brutal, other-worldly-sounding but entirely danceable, six-minute mix permeated by metronomic synthesizers that carry listeners through the outro. Another standout is “When the Lightning Strikes,” on which Shoniwa’s voice swoops like a vulture out of dark clouds amid a metallic but deeply classical crunch reminiscent of the Fucking Champs.
Overall, Chrome Black Gold collapses space and time and pries open listeners minds, continuously whetting them for the weird.
– Brendan Dabkowski
Anna Calvi: One Breath (Domino, 10/8/13)
“Sing to Me”
Anna Calvi: “Sing to Me”
Singer-songwriter Anna Calvi’s new album sports a photo of Calvi, thick eye makeup running, rain pouring down her face, staring with intensity into the camera — an image that some would consider over the top, even in the overwrought world of album covers. But when the first stunning notes sound, it seems as though the photographer didn’t go far enough.
Calvi, who debuted in 2011 with an excellent self-titled record, has a depth to which most only can aspire. Her voice and guitar are a seductive pairing, with sexuality boiling through dirty fuzz and vocals topping songs that wear her love of classical music proudly. The title track is a paranoiac’s love song — tension played by a driven beat, with spectacular string accompaniment from Placebo’s Fiona Brice. Later, closer “The Bridge” is an icy and operatic stunner, marked by otherworldly vocals in a Northern cathedral.
Calvi has not lost any momentum on this second album. Her balladry, halfway between torch songs and sweat-soaked garage rock, is unimpeachable. Breathe it in.
– Lincoln Eddy
Cults: Static (Columbia, 10/15/13)
“I Can Hardly Make You Mine”
Cults: “I Can Hardly Make You Mine”
Following the success of their breakthrough self-titled debut, multi-instrumentalist Brian Oblivion and singer Madeline Follin are back with their sophomore effort,Static. The album comes on the heels of Oblivion and Follin’s breakup, a result of the strenuousness they encountered while balancing lengthy touring with heightened success.
But even with that life change in the mix, the duo hasn’t missed a beat, composing an album that is just as catchy, menacing, and all-around gorgeous as their debut. Standout tracks such as “High Road,” “I Can Hardly Make You Mine,” and “So Far” showcase a remarkable skill set for crafting dark and demented pop gems.
– Michael Danaher
So Hideous: Last Poem / First Light (self-released, 10/22/13)
So Hideous: “Rising”
Fusions, crossovers, and poly-influenced musical projects were abundant before the Internet became accessible to most, but the Information Age has yielded an entire generation of musicians who are exposed to whatever they’re interested in hearing. It has produced a “post-everything” type of mindset, and NYC quartet So Hideous is an exciting product of these times.
Formerly So Hideous, My Love, this symphonic blackened hardcore band is as inspired by post-black-metal outfit Celeste as by post-rock giant Mono and minimalist composers Philip Glass and Arvo Pärt. Now, with its debut “full-length” (27 minutes), the quartet expands its orchestral reach, enlisting the studio aid of The First Light Orchestra, a collection of 10 string players, a tuba, and four vocalists.
Last Poem / First Light opens with a Dimmu Borgir-esque piece of haunting and terrifying symphonic metal, propelled by heaps of double bass before falling into an eerie, barely there outro. “Stabat Mater” follows with a dark intro comprised of bells, operatic vocals, clean guitar, and rising cymbals. A mere minute passes before the band explodes with a full-bore blast of blackened hardcore — an eruption of anger that yields the song’s close to a sad piano passage.
The rest of Last Poem / First Light is a similar swing of emotions, but it’s always a sonic punch in the gut. Quite simply, it’s one of the most exciting debut LPs of the year.
– Scott Morrow
Russian Circles: Memorial (Sargent House, 10/29/13)
Russian Circles: “Deficit”
From start to finish, Russian Circles’ fifth album, Memorial, whips listeners back and forth through dark thunderheads into blinding sunlight. The Chicago post-metal three-piece carefully adjusts its compositional tint, forcing listeners to surface in a winter scene — as beautiful as it is harsh — of some imagined past or future.
Whether it’s through Mike Sullivan’s increasingly adept guitar looping or layering, or both, or Dave Turncrantz’s spot-on percussion bouncing off of, or replying to, Brian Cook’s deeply texturized bass tones, the band achieves such a relentlessly expansive and, at the same time, tight sound here that Memorial is sure to become a genre touchstone.
Exploding out of the last seconds of bright opener “Memoriam,” second effort “Deficit” recalls post-metal performer Isis’s excellently grim “So Did We” (Panopticon) sans vocals. “Deficit” ends with strands of synthesized noise and disembodied voices that cut nicely into “1777,” a seven-minute-plus piece that starts to sound like the soundtrack to a David Lynch film, with a thrust of metallic scuzz.
As it did on Empros (2011), Russian Circles employs a vocalist (this time Chelsea Wolfe) on its last number, “Memorial,” giving the song a washed-out Mazzy Star vibe complete with soupy reverb. It’s the perfect bookend to an album that’s meant to be heard in full, and to prepare you for the emotional peaks and valleys that winter conjures.
– Brendan Dabkowski
Mutation: Error 500 (Ipecac, 10/29/13)
Mutation: “Relentless Confliction”
What do you get when you throw Napalm Death’s Shane Embury and Jon Poole of The Cardiacs into a blender with the likes of Merzbow and none other than The Fall’s Mark E. Smith? (Yes, you read that correctly.) The answer is this debut album by the “eight-man beast” working under the aptly chosen band name Mutation.
Predictably, the PR for this album hypes it as some of the most out-there shit in extreme music today. What’s actually most audacious about this music, though, isn’t its frequent twists and turns through a barrage of genres but how cohesively it all comes together. Error 500 proves that, after decades of spazzing out, the most revolutionary thing that underground musicians can do is focus. The fact that the personnel on this album can communicate in the first place — to say nothing of breaking new ground and making it listenable — counts as nothing less than a miracle.
– Saby Reyes-Kulkarni
Big Business: Battlefields Forever (Gold Metal, 10/31/13)
Big Business: “Chump Chance”
Like potters throwing clay atop a spinning wheel and controlling its rotation to shape formless soil into adorned, reinforced rock, Seattle’s Big Business uses the basics — drums, guitar, bass — to kick up a hefty storm of accessibly intense rock ’n’ roll.
Battlefields Forever, the band’s fourth full-length, is the usual mix of riff-heavy, brooding stoner rock stretched over warm pop hooks and a penchant for the ridiculous. The fourth track, “Trees,” begins with foreboding synth-esque sounds but quickly expands into a larger-than-human-life opus with at least four memorable guitar patterns. Bass player / singer Jarred Warren chimes in with his trademark raspy yowl, “Those trees…those trees live forever!” Later track “Heavy Shoes” is a punchy rumination on the working day with a guest vocalist. “Doomsday, Today!” finds Warren opining about monkeys as new guitarist Scott Martin shreds and drummer Coady Willis makes it sound like he’s playing no less than two full kits.
Battlefields Forever is equal parts humor and intensely delivered stoner gloom, which is evidenced in the album’s last track, “Lonely Lyle.” It’s a sort of sad march through a battlefield of ghosts, but it also manages to recall the sappy imagery of Led Zeppelin or Rush — but with the gritty delivery of the Melvins (of which Willis and Warren are a part).
– Brendan Dabkowski
Vaura: The Missing (Profound Lore, 11/12/13)
Vaura: “Incomplete Burning”
The new album from experimental Brooklyn, NY, metal band Vaura — consisting of members of Dysrhythmia, Gorguts, and Kayo Dot — is a spattering blast of rain against blotchy windows. Songs that initially seem to strip off layers of surface grime eventually reveal only roiling, blackened skies of a rapidly darkening world.
The four-minute title track begins with a black-metal airiness reminiscent of Wolves in the Throne Room before diving into mid-tempo gothic haziness and then finishing with a 20-second assault of blast-beat shoegaze, amid Joshua Strawn’s buried — but very melodic — darkwave delivery.
A few songs on The Missing are marked by almost subconscious black-metal-style backing vocals, making things distant and creepy. “Mare of the Snake” and “Passage to Vice” juxtapose light and dark. The former features effects-heightened gothic wailing that slices into a melodic chorus, while in the latter a barely perceptible evil growl backdrops bright, clean-guitar fingerpicking.
The song “Abeyance” wanders into the progressive instrumental territory inhabited by bands like Maserati; the track begins with a fog crunch of shrieking instruments and vocals, drifts to psychedelia, and finishes with synths peeling out in a long, dark corridor.
Though The Missing may not be Vaura’s most cohesive effort, fans of moody, experimental metal will find plenty to enjoy.
– Brendan Dabkowski
No Bird Sing: Definition Sickness (Strange Famous, 11/12/13)
“Don’t Think” (f. Sage Francis)
No Bird Sing: “Don’t Think”
Strange Famous Records, the label started by Sage Francis, has a hell of a stable. Cecil Otter, B. Dolan, Buck 65…and with a metal-darkened, addictively beat-driven debut, you can add Minnesota hip-hop group No Bird Sing to that list.
No Bird Sing is the brainchild of rapper Joe Horton, guitarist Robert Mulrennan, and drummer Graham O’Brien. Going from a live-band aesthetic to a more production-heavy recorded model has the potential to alienate fans, but No Bird Sing’s Definition Sickness is a dark pleasure. With a voice that recalls a more disillusioned Aesop Rock (if such a thing is possible), Horton raps over droning guitar and organic beats — the traditional instrumentation not competing with electronic production but rising to the top.
The album will evoke different things in different listeners. You may hear heaviness, drone, ambient techno, or modern indie rock, all lovingly filtered through the lens of hip hop. There’s no telling which interpretation is correct, but the end result is a nice fourth-quarter surprise, one of the best rap albums of the year.
– Lincoln Eddy
Secret Chiefs 3: Book of Souls: Folio A (Web of Mimicry, 11/26/13)
“Balance of the 19”
Secret Chiefs 3: “Balance of the 19”
Some bands change your life; some bands change your worldview; some bands change the very way that you hear music, forever altering your understanding of what can be achieved. Secret Chiefs 3 accomplishes all of these things and more, and with the first half of its long-awaited Book of Souls — the second piece in an epic “mega-trilogy” that began with 2004′s Book of Horizons — the indefinable fusion masters (led by Mr. Bungle guitarist Trey Spruance) make good on a decade on anticipation.
Amazingly, most of these songs began being tracked from 2003 to 2006, with more and more layers added every few years by a slew of talented members and guests. Each regular-length track is interspersed with “suprasensory radio spots,” blasts of melodic and rhythmic bliss/adrenaline that last anywhere from 20 seconds to two minutes — and that give a taste of new drummer Kenny Grohowski, a technical dynamo who must be seen live to be believed.
The most widely circulated track herein is the spruced-up rendering of theHalloween theme, a live favorite that was released via seven-inch in 2007. Though a creepy, head-banging standout, it’s least representative of the album — one that, this time around, draws more from early American classical influence than Middle Eastern. This is most evident in the above-mentioned “radio spots” as well as mini-masterpieces “Potestas Clavium” and “Scorched Earth Saturnalia,” the latter being a seven-minute “ballet miniatures suite in four elemental movements.”
Calling “Saturnalia” a masterful epic would be an understatement. It’s one of the album’s greatest and most tightly wound pieces, set up with racing pizzicato strings and bells, a thumping dance beat, and haunting operatics before flutes, piano, strings, and snares all march in lockstep. The rest is an interwoven audio puzzle, with bassoon, strings, piano, harpsichord, operatic vocals, and harp dancing around, through, and atop one other.
Later, the album presents a Chiefs rarity: a vocal-based track, sung by none other than former Mr. Bungle colleague Mike Patton. This alternative version of Jacques Brel‘s “La Chanson de Jacky,” a song that was popularized in the United States by Scott Walker, too was released in limited seven-inch form, but the LP version includes instrumental additions of flute and harp.
Book of Souls: Folio A easily vies for album of the year…and that’s without the upcoming Folio B. Miss this at your music collection’s peril.
– Scott Morrow
Mutoid Man: Helium Head (Magic Bullet, 11/26/13)
Mutoid Man: “Gnarcissist”
There’s clearly something in the Boston area’s water, and it’s a good bit stronger and weirder than tea. Already having affected Doomriders and Zozobra this year, the mystery substance has clearly made its way into the systems of Stephen Brodsky (Cave In) and Ben Koller (Converge), collectively Mutoid Man.
On their debut outing, Helium Head, the pair exhibit a similar ferocity and tempotic abandon as the aforementioned bands, plowing through seven songs (including a killer Animals cover) in about the time that it takes to boil an egg. Yet true to form, Brodsky doesn’t let the music dictate his vocal style, growling occasionally but for the most part lilting along harmoniously to the guitar’s lead, while Koller pounds away as violently as a machine gunner but with the precision of a sniper.
Whatever demons have invaded these two men clearly aren’t the kind that are easily exorcised, but the pair does its best, making Helium Head one of the most blistering yet complex records of the year.
– Oakland L. Childers
Cult of Luna: Vertikal (Density, 1/29/13)
Buke & Gase: General Dome (Brassland, 1/29/13)
Helen Money: Arriving Angels (Profound Lore, 2/5/13)
Pissed Jeans: Honeys (Sub Pop, 2/12/13)
PVT: Homosapien (Felte, 2/12/13)
Nick Cave & The Bad Seeds: Push the Sky Away (Bad Seed Ltd., 2/19/13)
Dan Friel: Total Folklore (Thrill Jockey, 2/19/13)
Mikrokolektyw: Absent Minded (Delmark, 2/19/13)
Atoms for Peace: Amok (XL, 2/26/13)
Wild Belle: Isles (Columbia, 3/12/13)
Squarepusher: Enstrobia EP (Warp, 3/11/13)
Marnie Stern: The Chronicles of Marnia (Kill Rock Stars, 3/19/13)
KEN Mode: Entrench (Season of Mist, 3/19/13)
Phosphorescent: Muchacho (Dead Oceans, 3/19/13)
Inter Arma: Sky Burial (Relapse, 3/19/13)
Sexmob: Cinema, Circus & Spaghetti (Sexmob Plays Fellini: The Music of Nino Rota) (The Royal Potato Family, 3/19/13)
Kvelertak: Meir (Roadrunner, 3/26/13)
Depeche Mode: Delta Machine (Columbia, 3/26/13)
Wavves: Afraid of Heights (Mom + Pop / Warner Bros., 3/26/13)
The Black Angels: Indigo Meadow (Blue Horizon, 4/2/13)
Brown Bird: Fits of Reason (Supply & Demand, 4/2/13)
Mike Patton: The Place Beyond the Pines soundtrack (Milan, 4/9/13)
Como Asesinar a Felipes: Comenzará de Nuevo (Koolarrow, 4/9/13)
The Flaming Lips: The Terror (Warner Bros., 4/16/13)
Stephen Brodsky: Hit or Mystery EP (Little Black Cloud, 4/16/13)
John Parish: Screenplay (Thrill Jockey, 4/16/13)
Beastwars: Blood Becomes Fire (Destroy, 4/23/13)
Lilacs & Champagne: Danish & Blue (Mexican Summer, 4/23/13)
Melvins: Everybody Loves Sausages (Ipecac, 4/30/13)
Coliseum: Sister Faith (Temporary Residence, 4/30/13)
Colin Stetson: New History Warfare Vol. 3: To See More Light (Constellation, 4/30/13)
Sole: No Wising Up, No Settling Down (5/1/13)
AM & Shawn Lee: La Musique Numérique (Park the Van, 5/7/13)
Vampire Weekend: Modern Vampires of the City (XL, 5/14/13)
Cultura Tres: Rezando al Miedo (Devouter, 5/14/13)
Survival: s/t (Thrill Jockey, 5/14/13)
Jaga Jazzist: Live with Britten Sinfonia (Ninja Tune, 5/14/13)
Man or Astro-Man?: Defcon 5…4…3…2…1… (Communicating Vessels / Chunklet, 5/21/13)
The Andreas Kapsalis & Goran Ivanovic Guitar Duo: Blackmail (6/4/13)
Pokey LaFarge: s/t (Third Man, 6/4/13)
Sao Paulo Underground: Beija Flors Velho e Sujo (Cuneiform, 6/4/13)
Noxious Foxes: Epochalypso (self-released, 6/4/13)
Deveykus: Pillar Without Mercy (Tzadik, 6/18/13)
Quasimoto: Yessir, Whatever (Stones Throw, 6/18/13)
Bill Frisell: Big Sur (OKeh, 6/18/13)
Rose Windows: The Sun Dogs (Sub Pop, 6/25/13)
Bosnian Rainbows: s/t (Sargent House, 6/25/13)
Louise Burns: The Midnight Mass (Light Organ, 7/9/13)
True Widow: Circumambulation (Relapse, 7/23/13)
Zorch: Zzoorrcchh (Sargent House, 7/23/13)
Washed Out: Paracosm (Sub Pop, 8/13/13)
Ty Segall: Sleeper (Drag City, 8/20/13)
Jel: Late Pass (Anticon, 8/20/13)
Julianna Barwick: Nepenthe (Dead Oceans, 8/20/13)
Zola Jesus & JG Thirlwell: Versions (Sacred Bones, 8/20/13)
Gorguts: Colored Sands (Season of Mist, 9/3/13)
Volcano Choir: Repave (Jagjaguwar, 9/3/13)
Arctic Monkeys: AM (Domino, 9/10/13)
God Is an Astronaut: Origins (Rocket Girl, 9/17/13)
Cacaw: Stellar Power (Skirl, 9/17/13)
Deer Tick: Negativity (Partisan, 9/24/13)
Melt-Banana: Fetch (A-Zap, 10/1/13)
RJD2: More Is Than Isn’t (RJ’s Electrical Connections, 10/8/13)
Kevin Hufnagel: Ashland (self-released, 10/8/13)
Doomriders: Grand Blood (Deathwish, 10/15/13)
Foetus: Soak (Ectopic Ents, 10/15/13)
Red Fang: Whales and Leeches (Relapse, 10/15/13)
Pelican: Forever Becoming (Southern Lord, 10/15/13)
Marijuana Deathsquads: Oh My Sexy Lord (Totally Gross National Product, 10/15/13)
Mikael Jørgensen & Greg O’Keeffe: s/t (Butterscotch, 10/15/13)
Spindrift: Ghost of the West soundtrack (Tee Pee, 10/22/13)
Sepultura: The Mediator Between Head and Hands Must Be the Heart (Nuclear Blast, 10/29/13)
Son Lux: Lanterns (Joyful Noise, 10/29/13)
Los Melvins: Tres Cabrones (Ipecac, 11/5/13)
Mark Orton: Nebraska soundtrack (Milan, 11/19/13)