Lollipop Music Streams

First output in almost a decade, a solid handful of releases to their credit, "In the Branches" is one of many classy tunes that show emo and hardcore tendencies, but matured by time and talent into something unique. At times tinkling and indulgent, at times bold and strong, breakdowns and sawing guitars here, lonesome piano there, a very personal and distinctive release.

Second release from this Brooklyn band with members of Garrison, Texas Is the Reason, Thursday, and Milhouse. Originally released in early 2012 on Arctic Rodeo Recordings or Mightier than the Sword Records. "Letterbomb" delivers straight-forward guitar rock with punkpop smarts and indie/post-hardcore drive. Tuneful, well-produced, not showy, not yelpy or math rocky. Like Hot Water Music or Samiam, or maybe a simpler ALL tune.

First recorded output in five years, three releases on Doghouse, went more altcountry/Americana than boy band altrock like The All-American Rejects (who started on Doghouse, if you remember correctly), and got together for a few holiday shows in 2012 and released this 7" on SideOneDummy. "Already Gone" starts a little too country-infused rock for me (like The Refreshments, who did the King of the Hill theme song and "Banditos," with the memorable line "Everybody knows that the world is full of stupid people"), but leads to a hand-clap shuffling rocker with "hey!" injections like classic T Rex or Gary Glitter and is a song you should tuck into your random playlist. Whenever it plays, you'll grin and be glad to hear it again.

Lasorda features members of The Get Up Kids, fun., The New Amsterdams, Kevin Devine and The Goddamn Band, and Ghosty, but is more synth indie pop than indie rock, with Suzannah Johannes' sweet voice being backed by The Get Up Kids' Matt Pryor more often than not. On "Sleep When You Are Dead," Matt takes the lead and does a decent job, but it's simple, light rock, with a "yeah, yeah" part that fails to race the pulse. Give me The Sheila Divine's shiver-worthy "rock you, yeah, yeah, yeah" in "Like a Criminal" any day.

Ten remixes of eight of 10 songs on Mogwai's Hardcore Will Never Die, But You Will ranging from synth pop to aggro, bombast to snooze. Godflesh's Justin K Broadrick reshapes "George Square Thatcher Death Party" into a pleasant drone, more car commercial driving pleasure and "life is good" smiles between a 30-something couple than wall-of-reverb Spiritualized euphorium, but if they remake Bladerunner yet again, this song'll be in a crucial, life-contemplating scene.

Third release, first in six years, 13 offerings from the duo of Ian MacKaye (Minor Threat, Fugazi, Embrace, Dischord Records, etc.) and former Warmers drummer Amy Farina. Still naturally catchy in that stripped-down way, less angry than Ian's longtime fans might be used to, but that's where he's at these days. Amy carries most of the vocals, Ian does have a few vigorous strumming moments, but "King of Kings" is essentially a decent acoustic number you could hear in any college town bar with a small stage. Intimate and pleasant, but not anything to get too excited about. And it just kinda stops...

"Now I just want a life/Full of art and a wife" states "Art and a Wife." Regina, Saskatchewan singer/guitarist Marshall Burns also name-checks Crazy Horse, so yeah, kinda out of my usual shots'n'smokes rock'n'roll area. But I get it, the Jonathan Richmond honesty, the "sawing" guitar (by indie rock standards), and the knack for pop rock charm. Neil Young's straining-for-that-note carries the weigh without the help of Erin Passmore's too-tentative back-up. She's got a voice, as "The Praire" displays, but her heart's just not in it here.

UK's Being There release their debut with quiet confidence. Without being whimsical, the breathy Cure-inspired indie pop of "The Radio" reeks of intelligent lyrics and years of longing and heartache, minus the mirror-smashing yowl and woe-is-me yelping some emo sobbers might infuse into the mix.

Metz reminds us of the good ol' days of pre-folk-cuddling Sub Pop and noisy rock labels like Amphetamine Reptile and Frank Kozik's Man's Ruin. Too-bright days and smoke-filled nights when the music was loud and frantic, the bass rumbled your belly, and while it wasn't actually punk or metal or swagger rock, it stuffed its crotch with the best of each, sportin' that noisy rock bulge loud and proud. Think Jesus Lizard, Melvins, Shellac, Unsane, The Bronx, and Holy Fuck. "Headache" is the single off the Canadian trio's first full-length.

Third solo release from this Colorado native. A integral part of the Seattle indie scene, having played with Carissa's Wierd, Band of Horses, Betsy Olson, and singer-songwriter Patrick Park, not to mention finding a cozy home on Sub Pop. "Naked" shows Sera's strumming and intimate sharings feeling stronger now, perhaps more hopeful. But don't expect her to cover "Walking on Sunshine" any time soon.

Classy and timeless, "Lord Knows" is wise and heartwarming, a song of hugs and admissions. Strong lead vocals by Dee Dee Penny, lo-fi production by the Ravonettes' folks (kinda '60s girl group mixed with dark and distantly reverby Jesus and Mary Chain), this is a song to play on repeat when the wine and memories are flowing.

"Secret Society" starts off really questionably, with the raspy vocals kinda all over the map, like the emo days we're all trying to block from memory. But it builds into a simple mid-tempo punker, like Ramones (if you're feeling generous) or Groovie Ghoulies, if you know yer shit. Title Fight have neither the talent not charm of either band, but kids who've never heard Buzzcocks or Hüsker Dü or Leatherface or 30 other bands I could rattle off in 60 seconds or less seem to be able to listen to them without throwing rocks at them, so there's that.

From North Carolina, pretty new band, first release on a label of note, recorded at Salad Days and produced by Brian McTernan so it sounds strong, but there's just not a lot to talk about with "Cardboard Houses." Band of Horses wanna-be verses and "power" choruses that condense the umph into something Muse or The Sheila Divine woulda chucked as pussy. But they're a young band, give them time to write something less obvious and dumbed down.

14 years between solo albums is not something most artists can get away with, but former Smashing Pumpkins guitarist James Iha is not most artists. He's a busy guy, collaborating with other reputable artists and scoring films and such. 1998's Let It Come Down was kinda twangy, less rockin' than the Pumpkins' altrock we were used to. "To Who Knows Where" is poppier, kinda New Wavey at times, with mellow charm by the bucket load.

Five records deep, The Helio Sequence are the exact kinda mellow, reverby semi-twangy indie rock I associate Sub Pop with since their grunge and dirty punk daze. Well-crafted, restrained, classy indie rock, often with the potential to bring a tear to your eye. "Hey, this is nice" swings to checklisting regret late at night, alone, with a near-empty bottle on the table. "October" will keep you company.

Debut from this Chicago foursome. More New Wavey than The Killers, and lighter in vocal punch and content (when The Killers are on point), but the U2ish guitarwork is pleasant. Yeah, "Purple" is pleasant. I can't see myself camping out for tickets, but I'd probably stick around for their whole set.