CSS has never been a band to be trifled with. Their recently released third album, La Liberaciòn, is a testament to the Brazilian quintet’s unwavering devotion to creating music that defies expectations and ordinary dance floor beats. Comprised of lead singer Lovefoxxx, producer/founder/drummer Adriano Ferreira Cintra, guitarist/drummer Luiza Sá, guitarist Ana Rezende, and guitarist/drummer Carolina Parra—all hailing from São Paolo—CSS is by far one of the most refreshingly zany bands to materialize in a long time.

Back of album cover

La Liberaciòn opens with the earnest and succinct “I Love You.” Lovefoxxx urges you to “feel the beat of my heart” for most of the song. It is, in many ways, similar to the sort of simplistic introduction (“CSS Suxxx”) that appeared on their 2006 debut, Cansei de ser Sexy. Naturally, with five years having passed, the band—fun-loving though they may be—has noticeably matured. A fact that is evident on “City Grrl” (that’s just the norm for spelling “girl” now) featuring the always over the top SSION, wherein Lovefoxxx notes, “In the big city, nothing hurts”—presumably because everyone is numb to the incongruous stimuli around them.

In a tree

The first single from La Liberaciòn, “Hits Me Like A Rock” featuring Primal Scream/The Jesus and Mary Chain frontman Bobby Gillespie, is even more addictive than their legendary first single “Music Is My Hot Hot Sex,” which is a fairly incredible feat.

By some trees

“Echo of Love” has this strangely folk sounding beat, or as folk sounding as people from Brazil can get. “Just let it go, enjoy it while it lasts” is the message CSS wishes to convey on this track, an aphorism that goes hand in hand with the album’s title. “You Could Have It All” slows the pace of the album down a bit, while still maintaining one of CSS’ archetypal electro beats. It is also one of the more narratively structured songs, with Lovefoxxx painting the following picture: “We met in the music shop, they were playing our favorite band. After years of walking hand in hand, we were too busy to hang with our friends.”

Performing with that distinct logo of theirs

“La Liberaciòn” is a rock song with Lovefoxxx’s typical brand of enthusiasm as she sings in her mother tongue, “I’m tired of hoping/Ran out there today/Screaming a crazy, crazy poem/Naked down the street smiling.” My Portuguese may be a bit off, but I think that’s how Lovefoxxx generally sounds when she speaks English. “Ruby Eyes” vaguely compares to an Elvis Costello song if Elvis Costello wasn’t so whiny and sang songs about smoking joints. “Rhythm to the Rebels” asks, “Wanna break some rules? I’d love to.” It’s one of the more abrasive tracks on the album.

Album cover

“Red Alert” featuring Ratatat tells the tale of a girl who is “all dressed up with nowhere to go, feeling the rhythm of casual love.” The song has a somewhat melancholic backbeat that presents an interesting dichotomy to obsequious lyrics like, “Tell me what you want and I’m ready to go.” Perhaps the contrast is meant to show how empty the concept of love is in the modern age.

Oh Lovefoxxx

The second to last song, “Fuck Everything,” showcases CSS’ particular flavor of humor. Lovefoxxx complains, “Nothing ever happens in this neighborhood. I wanna rip my eyes out.” The song is barely two and a half minutes and features a brief pause of silence in between the album’s closer, “Yolanda,” before which Lovefoxxx is compelled to tell you, “Hi, my name is Lovefoxxx and I’m 12 years old. I like going to the pub with the gays, I like buying pencils and pens, I like cooking, and I like…cookies.”

Performing in the most amazing garb/against the most amazing tableau I have ever seen.

So, basically, La Liberaciòn, completely outshines CSS’ sophomore album, Donkey, and nearly eclipses the group’s irreverent and unprecedented first album, Cansei de ser Sexy. Here’s hoping the fourth album gives us a collaboration with Lovefoxxx’s former fiancé, Simon Taylor of The Klaxons.

Computer Magic, a blend of Nite Jewel beats with vaguely Best Coast vocals and lyrics, consists of 22-year-old Danz, who is accompanied for live shows by Justin Coles on bass, James Morley on guitar, and Chris Egan on drums. Danz only started recording under the Computer Magic moniker in late 2010 and has already created the EPs Hiding From Our Time and Hiding From More of Our Time. With such prolificness, one would think that the quality of songs would be hit or miss, but alas, Computer Magic puts us all to shame in combining excellence with abundance.

Evincing the celestial stylings of her music.

The Hiding From Our Time EP features the notable tracks “Electronic Fences” and “Found Out,” while the Hiding From More of Our Time EP includes the profound “Victory Gin,” inspired by George Orwell’s 1984, evidenced by the lyrics, “I feel like I’m going crazy, but maybe it’s just me.”

Danz

The ethereal electro sound of Computer Magic’s music is unique in that it does not distract from the meaning behind lyrical phrases like, “Electronic fences keeping me inside / I sometimes get restless, but it usually subsides,” which then segue into faster paced songs, like “Grand Junction.”

Video still from "The End of Time"

The entire concept of Computer Magic’s music is actually encapsulated in the video for “The End of Time,” directed by Jesse Jenkins, in which Danz roams the commercial streets of New York in a space suit. Her music will give you that sense of being trapped behind some sort of glass while you watch everyone else around you rush by and wonder what they’re so goddamned preoccupied with.

Album cover for Hiding From Our Time EP

At the moment, Computer Magic is, thank fuck, recording a full-length album that will more than likely be released on the White Iris label (known for supporting Best Coast and Wavves). So, until then, head on over Danz’s website to satiate your need for CM’s rarefied breed of delightful serenity.

As has no doubt been observed countless times, the ever-changing face of dubstep is continually seeing new figures pop up with astounding new takes on the genre (Burial, Boxcutter) or refinements (iTAL tEK, Swarms), and Bristol’s Phaeleh seems poised to join the ranks of the heavy hitters. Fresh off the heels of last year’s Fallen Light, an album so close to classic status that it could smell its eyeballs, Matt Preston returns with The Cold in You, an EP which finds the DJ expanding on his hypnotic, ethereal style in a number of different directions.

One of the EP’s first distinguishable traits is its different progression; while Fallen Light’s tracks flowed together almost a little too well sometimes, here Phaeleh has managed to make everything mesh without sounding too similar to anything else; the listless guitar leading In the Twilight, for example, co-exists quite harmoniously alongside the somewhat aggressive 2 step beat that drops in Think About It. Phaeleh also makes more effective use of bass here, to such an extent that some tracks, like the menacing Caustic Storm, or in particular dub creeper Perlious, are on the verge of feeling out of place.

This is not to suggest a departure of any sense, however; all the hallmarks which made Phaeleh’s last two full-lengths great are still here in spades. Soundmouse once again shines on the brilliant title track, with its haunting piano-led hook, and all the lush, beautiful harmonies he is becoming known for are as vibrant and prominent as ever, namely in the sweeping closer Should Be True, which swells gorgeously all throughout its seven minute length. Ghostly vocal samples, fantastic synths, and especially the broad instrumentation are woven together expertly with the beats, which almost act as a light yet persistent slap to keep you alert in the midst of all the hazy beauty found here.

The Cold in You hints at great things in Phaeleh’s future output. There is a great improvement as far as variety is concerned, with an excellent blend of his older and newer ideas, and most impressive is the fact that it comes without any sort of dip in quality. Preston has mentioned that he will probably drop off the radar for a bit while he works on his next LP, which is a shame, but with all the anticipation that is undoubtedly going to follow the man’s output between Within the Emptiness and this, it’s for the better. It’s going to be a complete monster if this EP is any indication, and once it drops the dubstep community just might find itself saying, “Burial who?”

As time goes on, and more musical styles are introduced, and these genres beget their own sub-genres (which frankly can get a bit ridiculous with their hair-splitting definitions), it becomes increasingly difficult to find something truly unique, something that doesn’t eventually remind you of something that you’ve already heard. At times, the reference points can even get to be too much, with the urge to immediately categorize and/or trace the roots of something new getting in the way of enjoying the music simply for what it is. This is particularly tricky with dubstep, which by now has been configured and reconfigured time and again to encompass a number of different styles, from the teeth-ratting bass of artists like Nero or Bassnectar to bare-boned and ghostly acts such as Burial to crossover-primed folks like James Blake. I think it safe to say, however, that Bristol-based trio Swarms have presented an album that is easy to love for, as previously mentioned, simply being what it is – and their debut record, Old Raves End, is nothing if not endlessly gorgeous.

Old Raves End seduces immediately with the alluring progression of opener T-1000 (which I can’t help assuming is titled as such because of its strangely Terminator 2 reminiscent keyboards). It nearly seems as if the goal is minimalism, brandishing a simple 2-step beat awash with soothing synth notes, but the track continues to build until it becomes almost overwhelmingly immersing. This quality is stalwart all through the album, peaking around Polar and Stokes Croft (tracks six and eight, respectively) at which point the music feels like sensory overload with its palpable and exquisite beauty before coming down to earth a bit, anchored by more conventional beats and culminating in the gentle yet bass-driven closer Bison.

While electronic music can quite easily be, perhaps even by default, cold and robotic, Swarms make it sound so damned organic – to the point where the shining moments here are downright evocative; the swelling synths in Chapel‘s peak, the reverberating guitar in Flikr of Ur Eyes, the buried vocal samples of Hostile (or nearly any given track in the album’s tantalizing middle portion for that matter), they can all bring to mind memories pleasant or not of seasons past, times and places, or even specific things remembered that come with some odd sense of anonymity, as if being transported back to a precise moment, or even emotion, being experienced through some hazy manner of recollection.

…I really hope that makes sense, because I just re-read that last bit and thought, “Jesus christ, this is gonna look pretentious as shit.”

It’s quite foreseeable that many won’t be charmed with something so relentlessly ethereal, and that’s perfectly understandable; what Old Raves Ends lacks in variety, however, it more than makes up for with its dynamism and sheer beauty. It’s tempting to call this album a stone cold classic within its genre, but ultimately that would be a loaded statement. Dubstep, future garage, 2-step, whatever tag you want to apply to this is really irrelevant – what Swarms have produced here is just a gorgeous piece of music, plain and simple.

If anyone knows the value of anticipation, it is Washed Out. Somehow, two years have already passed since the Georgia-born artist returned to his hometown of Perry to produce the embryonic tracks that would ultimately be released on the EP, Life of Leisure. The EP quickly catapulted him onto the radar of musical tastemakers throughout the blogosphere. And, at long last, the artist, whose real name is Ernest Greene, has released a full-length album, called Within and Without, an auditory tome that is sure to please the ears and the hips.

Album cover for Within and Without

On the frenetic Life of Leisure, Washed Out introduced us to the possibilities of synthpop when married to lo-fi sound. It is very much akin to The Velvet Underground meets a slowed down version of 90s dance music. And that is definitely a result worth listening to. Tracks like “New Theory” and “Feel It All Around” are a glimpse into the gossamer tones that appear on Within and Without. Opening with “Eyes Be Closed,” this song will make you want to do just that–granted, you’ll probably want to have ingested some of that lovely little drug formally known as MDMA in addition to having your eyes closed while you listen to it.

This picture of Washed Out perfectly reflects the tone of his music.

“Echoes,” the second track on the album, guides the aura of the music into a more upbeat, though simultaneously lackadaisical, arena. “Amor Fati” (a Latin term that means “love of fate”) then continues to take you on an ethereal ride through the mind of Washed Out. The pace and sound of “Soft,” “Far Away,” and “Before” all bear similarities to one another, bracing for a brief shift on “You And I,” where the emphasis becomes on Washed Out’s vocals as opposed to the music itself.

Balloons = Fun = Washed Out. Transitive property yo.

As Within and Without arrives at its denouement, the title track exudes the calm and serenity of a day at the beach. The couplet that concludes the album, “A Dedication” and “Call It Off” (a bonus track on iTunes) is in perfect contrast, with the former song being one of the most serious on Within and Without and the latter song having the most levity. Looking at Washed Out’s comprehensive body of work, it doesn’t take a fortune teller to predict that there are many more rapturous beats to come.

Electropop and synth with some goth and classical vocals thrown in might not necessarily come across to most as the best idea, but one listen to the new album from Toronto-based band Austra will alter any opinion to the contrary. The latest single off of Feel It Break, “Lose It,” is the best indication of what lead singer Katie Stelmanis is capable of achieving with her newly hatched band.

"Lose It," the first cut off of Feel It Break.

The first thing you need to know about Stelmanis (and the thing that she wants you to know above all else, apart from the fact that she is a classically trained musician) is that she is a lesbian. This particular facet of who she is accounts for a considerable portion of Austra’s lyrical content, especially on the somewhat euphemistic opening track on Feel It Break, “Darken Her Horse”:

“Hold her by the reins/the moon isn’t far/Hold her by the reins/it’s worth it to stay/Nothing stable, nothing patient here/Ride her darken horse/The pathway to the end/She’s all alone, she’s all alone/Her trust was never there.”

Austra playing a gig at The Windmill in Brixton, London in January.

The dramatic stories that unfold in each of Austra’s songs correlate well with the histrionic stylings of Stelmanis’ voice. Paired with fellow lesbian Maya Postepski’s musical programming and the stoic bass playing of Dorian Wolf, Austra produces beats and sounds that are actually innovative to the electropop genre.

Showcasing her flare for melodrama.

But simply making amazing music is not enough for Austra (which, by the way Stelmanis chose to call the band as an homage to her heritage, as that is the name for the goddess of light in Latvian mythology), they must also create sufficiently provocative imagery to go with it–this being the case for the video in support of their other single, “Beat and the Pulse.”

Pictured from left: Maya Postepski, Katie Stelmanis, and Dorian Wolf.

The video, with its uncontrolled choreography, visceral tone, webbed body parts, and random smattering of nipple action, suffered the consequence of being whitewashed with a few blurs here or there on YouTube. Still, you get the basic gist of the video’s message, which I think is, lesbianism is cool. Austra’s proclivities for the theatrical began at the age of 10 when she joined the Canadian Children’s Opera Chorus. Her talents were further fostered as she continued to study opera, learning how to play the piano and the viola along the way.

Stelmanis prefers to be identified as "a musician first, and a lesbian second."

Although Stelmanis was slated to attend college in Montreal in order to continue on her path toward musical education, she opted not to go. But, to quote Paul Lester of The Guardian, “Academia’s loss was goth-tinged baroque synthpop’s gain.” For proof, listen to Behind the Hype’s favorite track off Feel It Break below.

Beat and the Pulse

Los Angeles has had its fair share of notable bands in the past – The Beach Boys, The Go-Gos, Guns n’ Roses, and, ahem, Far East Movement – but it has been quite some time since a band like Nite Jewel has surfaced. With sounds that are a blend of too many elements to be accurately compared to anything else, Nite Jewel has been rising through the ranks of L.A.’s music scene for over two years now. The band, helmed by Ramona Gonzalez on lead vocals, has shown all signs of garnering increased recognition, as evidenced by their song, “Suburbia,” being featured on the soundtrack for the Noah Baumbach film Greenberg.

Ramona Gonzalez and former band member Emily Jane.

On Nite Jewel’s debut album, Good Evening (released on Human Ear in 2009), the sound is distinctly 80s–but simply compartmentalizing it into a decade does not do it justice. Commencing with “Bottom Rung,” Nite Jewel establishes the ethereal tone that is present for the duration of the album. Even more uptempo tracks, like “What Did He Say,” “Artificial Intelligence,” and “Chimera,” have an air of the celestial.

A case in point of that otherworldly vibe I was talking about.

In the wake of Good Evening, Nite Jewel also released a single for what is categorically their best song, “Want You Back.” The backing beat is by far their most infectious and lavishly produced, though the video is somewhat on the dull side. The single also features a “B side” (I’m using that as a metaphor since records are so unloved) called “All Out of Order,” in both English and Spanish (don’t ever say Nite Jewel doesn’t know her audience, being L.A.-based and all).

Nite Jewel: Lo-fi personified.

With a full-length album under their belt, as well as a recently released EP called Am I Real?, Nite Jewel continues to break new ground. And because Nite Jewel often pays homage to lesser appreciated music genres, like Italodisco, and bands, like Ariel Pink’s Haunted Graffiti (a former member of which is now a part of Gonzalez’s fold–her husband Cole M. Greif-Neill), it’s safe to say that they’ll continue to have a solid backing from Los Angeles and beyond.

Being compared to a creative giant like Thom York may spur interest in your musical project, but at the same time expectations are going to soar, perhaps even beyond what may be reasonable. Not to mention that, well, let’s face it – you’re bound to look derivative. Home Video faces such a struggle, but to their credit, it must be said; these guys know what they’re doing. It’s quite easy to replicate a sound, in fact even the best of sounds. But to make it sound like your own? That there is the challenge, and Home Video is more than up for it.

Magic Eye picture? Or a really poorly laid out maze

Not to suggest that their debut (and initial series of EPs) were so drowned in the Radiohead concept that they couldn’t stand on their own, but they were most definitely subject to the comparison. With their latest, Collin Ruffino and David Gross truly step into their own. While Ruffino’s vocals are no less Thom Yorke-esque, the music speaks for itself. Gross’ classical training stands out on tracks such as the Grey’s Anatomy endorsed Business Transaction, which begins with a piano melody recalling Chopin. Or the arrangements on, say, the opening Accomplished but Dead, which takes minimalist electronica to a new level with its supreme mood establishment.

Which brings us to the lyrical aspect; so seldom are such basic concepts worded in such a direct fashion that they simultaneously hit home hard, but also give a bit of subtlety as to make the listener really contemplate as to where the hell the songwriters were coming from. You Will Know What to Do, released previously on the I Can Make You Feel It EP, digs in to the psyche with lines like “Did you wonder so innocently, why is this happening, who will save me? You Were” cut into the very insecurities that the most hardened folks tuck away; Ruffino seems to be solely interested in taking apart the most basic feelings your average person has to reveal just how similar we all really are. Another fine example is the excellent title track, which does a fine job of relating the global struggles which have risen as of late to basic, personal issues, particularly not knowing one’s place in the world.

Home Video in their SWIM SUITS... ugh. Even I feel bad about that one.

Minimalist electronica that swipes clear inspiration from Radiohead (and Thom Yorke’s solo effort in particular) may sound bland and uninspired in theory, but this duo has truly taken the notion and made it their own. This is a band with their own unique ideas and twists on the sound, and more importantly, something to say. While it may not be the most original thing you’ll hear this year, Home Video has unquestionably offered up something that won’t just remind you of whence it came; it will provoke thoughts, feelings, and perhaps most significantly, something to which you can relate. Ruffino and Gross are coming into their own here, and it would come as no surprise if their third full-length drew a mass audience as well as mass critical praise. Do not sleep on these guys!

Sufjan Stevens has been nowhere to be found for the past five years. After releasing the instant classic that was Illinois in 2005, fans and critics alike were left giddily awaiting the next release in his proposed 50 States Project. Unfortunately for all, this wasn’t to be. Instead, Stevens seemed to be questioning the point of releasing music at all in several interviews last year. As fans began to sheepishly hang their heads and give up on Sufjan altogether, he released a free EP online two months ago, and now follows it up with a full-length album, The Age Of Adz, in which he deconstructs himself mentally and spiritually through the use of familiar devices such as trumpets, flutes, synth pads and drum machines. The result is nothing short of brilliant.

The album begins with the hauntingly sleepy “Futile Devices.” Sparse instrumentation consisting of guitar, piano, rim taps and dubbed vocals create a tender, heartfelt meekness that doesn’t stray far from old favorites such as “Concerning the UFO Sighting Near Highland, Illinois.” While this is more comfort than surprise, it would be wise for listeners not to be fooled into thinking they’ve heard this album before.

What follows is the nearly seven-minute opus, “Too Much.” Any questions as to the legitimacy of an electro-pop album by the enigmatic singer-songwriter are quickly answered. Heavy on drum machines and synth effects, the song mixes Steven’s notoriously introspective lyrics with a new canvas on which to explore. What really separates the amalgamation of sound is the incorporation of horns, woodwinds and layers upon layers of gorgeously placed harmonies throughout. Towards the end of the track, the action begins to dissipate, lulling the listener to relaxation, only to transition into a spacey jam that reminds me of watching Star Wars and seeing the Death Star. It only gets bigger in scope.

Album art inspired by schizophrenic painter, Royal Robertson.

The title track of the album follows, clocking in at eight minutes on the dot. Much of the same instrumentation is used, though focusing more on the side of classic Sufjan orchestration. The religious undertones are on full display and his lyrics have never been more affecting as he sings, “Well I have known you for just a little while / But I feel I’ve known you / I feel I’ve seen you when the Earth was split in fives.”

“I Walked” and “I Want To Be Well” serve as spiritual healing for Stevens. The former discusses the hardships of letting go of the one you love (a popular theme for every songwriter, I know), while the latter, as the title suggests, pleads for some peace. In it, Stevens and company sing, “Everywhere you look / everywhere you turn / illness is watching / waiting its turn.” The track ends in dramatic fashion as seemingly everyone capable repeats “I want to be well!” while the music crescendos then crashes.

The album closes with what might appear to be a farce, if not for the 10 tracks preceding that solidified its unshakeable credibility. “Impossible Souls” checks in at 25+ minutes, somehow managing to keep the listener engaged and excited for what is to follow. The first act floats peacefully after the intensity of “I Want To Be Well,” reminiscent of Yoshimi-era Flaming Lips. After a slightly misguided stab at auto-tune, the most dance-inducing moment of Adz takes form in what is also its most hopeful moment. Once again, everyone is gathered to sing gleefully, “Boy, we can do much more together / It’s not so impossible!” If you don’t feel extremely happy to be alive when this moment arrives, it’s most likely you will never be happy ever. Finally, the marathon ends as it starts, as sparing guitar intertwines effortlessly with layers of Steven’s voice. The contemplation of life is discussed, but clearly not resolved.

Yeah, so maybe he's a little crazy...

The Age Of Adz is quite possibly Sufjan Steven’s most inviting and engaging album to date. What is more remarkable than anything about this truly majestic album is the undeniable flow throughout. This is obviously no easy feat for a record that totals over 70 minutes. Sufjan Stevens has proven over his last few albums that when he wants to, he can create more gorgeously written, performed and produced records than most his peers. There is no doubt in my mind that The Age Of Adz is the album of the year, and fans and critics alike will once again be keeping a close eye on the genius of Sufjan Stevens to come. Let’s hope this doesn’t push him away. We can’t afford to lose such a unique, inspiring and God-gifted artist.

The Scissor Sisters have no problem finding their audience, regardless of how utterly campy they are. Even the album cover of Night Work sets a new precedent for just how much the members of Scissor Sisters don’t give a fuck about decorum or “taste.” Exhibiting a clenched ass with pants tighter than anything Jim Morrison ever wore, Night Work’s cover art is a good indication of the album’s bawdiness.

To quote The Pet Shop Boys, "You're so flamboyant."

Released on June 28th (forgive me father, for I have sinned for not reviewing it earlier), Night Work explores the usual Scissor Sisters themes: Troubled youth, getting dressed in drag queen-like garb to go out, and sex (whether paid for or not). The quality that makes this particular endeavor stand out from The Scissor Sisters’ previous two albums is that Stuart Price was at the helm as producer. You may know his work from a fantastic record called Confessions on a Dance Floor or maybe you know him as Les Rythmes Digitales. And if you don’t, you probably don’t listen to The Scissor Sisters anyway.

Frontpeople Ana Matronic and Jake Shears

Price’s distinctive production style blends well with The Scissor Sisters’ glam rock/electronic sound. The marriage of these two tours de force (yes, that’s the plural of tour de force, like cul de sac is culs de sac) of gay electronic dance music will make you want to burst with sheer elation on the last track of the album, “Invisible Light.” The up and down bassline of “Any Which Way” is also classically Les Rythmes Digitales, as featured on most every track of the 1999 album, Dark Dancer.

From left to right: Randy Real, Babydaddy, Del Marquis, Jake Shears, and Ana Matronic

Night Work, though similar in many ways to The Scissor Sisters’ debut and sophomore albums, is a departure in the sense that it is purely an homage to just having fun, whereas their prior albums always had at least one “message” song on it (i.e. “It Can’t Come Quickly Enough,” a surprisingly non-sexual song from their first album, and the somewhat cheesy songs “Land of a Thousand Words” and “Everybody Wants the Same Thing” on Ta-Dah! The new album’s title alone, Night Work, winkingly suggests fun with its allusion to prostitution.

The oh so glam rock pair of scissors on every Scissor Sisters album

So, to the confused, the transsexual, the homosexual, the heterosexual, and even the asexual, Night Work guarantees everyone to have a good time on the dance floor. Courtesy of Stuart Price.