The legendary Swedish death metal band Hypocrisy is back at it again but this time it’s with a live performance of their 2010 show in Bulgaria. Professionally filmed, the DVD and two CD set dubbed Hell Over Sofia: 20 Years Of Chaos And Confusion, is simply amazing. Consisting of vocalist/guitarist Peter Tägtgren, bassist Mikael Hedlund and drummer Horgh, the trio was joined by session guitarist Tomas Elofsson.

Taken from their “Long Time, No Death” tour, the concert had fans in a frenzy from start to finish. “Valley Of The Damned” got things underway and the crowd was instantly pumped…

Built Like Alaska’s In Troubled Times was an overall improvement on the band’s prior work. While their previous music was ordinary and forgettable, this album proved to be highly sentimental and creative. With eccentric elements and emotional lyrics, Built Like Alaska has established themselves as a credible indie-rock band.

Admittedly, when taking a first look at the album, I was unsure of its merit. “The Union Song” was a poor choice for opening track. While the rest of In Troubled Times is carefully assembled, “The Union Song” is a sloppy creation, with rough transitions and a multitude of components…

Track one, “Ghosts In The Graveyard,” has an eerie melody to match its name. Its shrill guitar riffs and distorted vocals have a haunting effect on the song’s overwhelming enthusiasm. The lyrics contain unexpected obscenities and emotional remarks. “Ghosts In The Graveyard” scoffs at the world; the invisibility of ghosts appears to be a metaphor for escaping and never being found.

Secret…

Don’t let the name fool you, Young Jesus is far from gospel music. Young Jesus is a Chicago-based quartet that classifies their stuff as “Party-Angst Indie.” The group consists of vocalist John Rossiter, bassist Shawn Nystrand, guitarist Cody Kellogg, and drummer Peter Martin. Home is the full-length debut for these Windy City rockers.

“Family And Friends,” the first cut off the disc, starts you off with a calm reassurance. Rossiter’s great chops remind the listener that everything is going to be okay. As the tempo picks up, his tone seamlessly changes from one of peace and calming to one…

Through the help of fans on Kickstarter.com, Kishi Bashi (who also goes by K Ishibashi) was able to raise enough money to record his debut album, 151a. Although this is Kishi Bashi’s first full-length, the Norfolk, VA, native isn’t new to music; he’s the founder and singer of Jupiter One, a member of Of Montreal and has toured with artists such as Regina Spektor and Sondre Lerche.

What stands out specifically on 151a is Ishibashi’s magnificent violin playing that he uses to create other unconventional sounds. Although the release is animated, it also feels like a continuous trip on…

Exitmusic, the New York City electronic duo, first appeared on the map in late 2007 with the release of their debut album, The Decline Of The West. Comparisons in sound to Radiohead were made almost immediately. Fitting, as they share their handle with the famous Radiohead song, “Exit Music (For A Film).” Although the similarities are there, the sounds off of From Silence, Exitmusic’s latest EP, are darker and have more of a post-punk influence.

The overall atmosphere of the disc puts the listener into a sort of dream world, with all the effects, whispers and the moans of…

Former Rentals member Sara Radle’s fifth solo effort is an impressive one, given that she played all the instruments on the release, and mixed and engineering it—all on her laptop! The percussion-heavy first track, “Last,” opens up with vocals that have far too much reverb on them, however, the effect fizzles out so one can hear the soft and sweet voice that is coming from Radle. She proves that her bite is just as strong as her bark with songs such as “Little One” and “The Pins.”

The two are polar opposites as far as the aesthetics are concerned.…

I first got introduced to Austin-based band Cotton Mather when 1994’s superb debut, Cotton Is King, hit the streets. Genuine hook-filled opener “Lost My Motto” sounded like ‘80s pop kingpins Squeeze, riding along a nifty guitar beat emulating Matthew Sweet. And leader Robert Harrison’s wonderful pop sensibility guided the troupe through catchy Beatles-esque melodies in a wholly conventional manner.

Strangely taking their woolly name from a 17th Century Puritan preacher supporting the Salem Witch Trials, Cotton Mather received further underground plaudits for 1997’s Kontiki, an eloquently resourceful power pop project utilizing a shimmering production glaze ‘70s rockers Badfinger and…

Faris McReynolds abandons the avant-garde pop sound used in One Finger Riot and in his paintings for a more natural blend of indie pop-rock with a twist of attitude. The painter and musician’s latest project, ExDetectives’ debut album, Take My Forever, is much like its artwork—a flight through the clouds. Take My Forever opens up with McReynolds’ silky voice in “Cleaner” until the air is filled with soothing guitars and a light drum beat. Gradually the guitars grow into a harder sound. Normally a dry delivery is a turn-off, however, McReynolds’ flat voice throughout isn’t a bother.

McReynolds appears…

Electric Six’s eighth album, Heartbeats And Brainwaves, is a funky, eclectic mix that cannot be contained. With elements of rock, R&B, and nü-garage, the album is a melting pot of upbeat music and experimental energy. The 14 tracks are vastly distinct, yet tied together by a fun-loving attitude and unmistakable sense of creativity.

Each song on the CD is entirely unconventional, introducing new elements to Electric Six’s trademark peculiarity. It begins with eerie, techno track “Psychic Visions,” which features a mysterious beat and electronic noises. Ghostly background vocals accentuate its already unsettling beat. The unusualness of “Psychic Visions” paves…