For a relatively new band, Poliça have arrived at a singular, evolved aesthetic that can alternate between spare and symphonic, but tied together with a tangible sexiness throughout. In fact, the super sexy video for the reverb-y “Amongster” from their new LP Give You The Ghost (Memphis Industries) could alternately be titled “Sex In The Dirt”. The single “Lay Your Cards Out” may be most emblematic of their sound, built on a heady foundation of big bass thrums and a deceptively complex arrangement of beats produced by two drummers. This is the platform upon which elfine lead singer Channy Leaneagh’s warped, space-y, atmospheric, electrified and autotuned lyrics rise, expand and soar. On much of the album, her vocals almost completely dissolve amidst various effects and tiny waves of synthesizer, as on the awesome “First Teeth Money”. The drum work on Give You The Ghost is pronounced enough to be rap-able: the right MC could murder these beats. Perhaps like The xx, Poliça’s songs are also ripe for remixing -- like many bands these days, the path to a larger audience may lie on the dancefloor. We concur with an astute anonymous blog commenter, though, who pleaded: “Please don’t make this dubstep.”

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It’s a welcome relief these days to hear a band that doesn’t take itself too seriously, and it is that exact lack of seriousness that makes the music of 1,2,3 a serious pleasure to listen to. As easy as a,b,c, the freewheeling, lighthearted, genre-hopscotch of their songs creates an immensely appealing atmosphere, combining old and new in a way that doesn’t sound stale or factory-made. The sheer joy in hearing Nic say, “fucker,” before “Confetti” kicks into gear is enough for me, personally, but treats like that abound with these guys. Listen to them. It’ll be good. You can count on it.

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In 2010 the musicians of Gardens & Villa (a name spawned from their Santa Barbara origins) made a pilgrimage to Portland, Oregon, where they crashed at friends’ houses, spent their days trying to hone the song-writing process, and literally camped out for two weeks in producer Richard Swift’s back yard while recording their debut album. The result is a dreamscape of sound that undulates between the ethereal to more concrete beats in synth-infused, rhythmic tracks like Orange Blossom and Spacetime.

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There’s a genre of indie pop that is unapologetically upper-middle class. They sing about it, they look like it, they sound like it. It’s not that they’re trying to gloat about being privileged, they’re just writing about what they know. The most notable act to do this is Vampire Weekend, whose songs handle such weighty topics as college campuses, grammar, and island resorts. The latest group to go down this road is the LA-based Princeton, whose debut EP was named for a group of British intellectuals – Bloomsbury Group. The subject matter on their early recordings might have been a bit heavy handed, but the songs were infectious and catchy. Fortunately, they’ve toned down the concept, and their latest release, Remembrance of Things to Come is a wonderful pop record that bounces along with precision, thoughtfulness and, most importantly, accessibility.

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The Darcys do not behave like a normal rock band, but they are more and more evident of a new breed of artists. Artists who find the expression of music and the shared experience to be of more value than any monetary distraction, artists who struggle like mad to bring their expression to the world and ask for nothing in return but the chance to continue to do so, artists who love music for what it gives them, not for what they can take from it. No, The Darcys do not behave like a normal rock band, they're better.

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If you can get past the grammatically reprehensible name you’ll find indie rock ditties so catchy they should be classified as weapon grade. The songs manage the difficult task of being mournful and heartfelt while remaining irrepressibly upbeat. Lush vocals and frenetic drumming propel the songs ever forward, staving off the monotony that is all too common in indie rock duos. It’s hard to stop listening to An Horse, each song leading to the next in a magnetic chain. Incredibly well constructed and containing almost no filler, An Horse’s albums are absolute joys to listen to.

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Confession: This is the band I wanted to be; the band my mother feared I’d become. To embark on a permanent lost weekend, to quench my thirst for lowbrow brew and dive headlong and headstrong into the California surf. No excuses, no direction, the sun at my back with guitars ablaze. And, I can only assume, tacos… FIDLAR, the exuberance of wasted youth.

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Plaintive wails, slow building songs, great tambourine, deep voiced poetic lyrics that at a few points almost sounds like Neil Diamond and Tom Waits had a voice baby. Tracks from The Herbert Bail Orchestra sound large and full, ready to fill your bedroom, or headphones. The band does evoke a somewhat sad carnival, just like one of their tracks (obviously called “Carnival”) promises. The 4 songs on their self-titled EP are well played (orchestrated, if you will), the instruments blend well together and still have lives of their own. Bottom line: these are great pop songs for the musically inclined – drums kick in at the right time, an organ track just slightly peeking out from behind all the other instruments leaves you amazed, and an accordion is thrown in and so is a friggin’ vibraslap (on my favorite song off their EP Where I May Breathe), just in case you needed some extra uniqueness.

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The Lumineers traditional songs are moored by earnest songwriting and rooted in timeless melodies that recall the glory days of the Greenwich Village folk scene. Songs of personal strife and yearning are buoyed by rousing choruses and foot-stomping rhythms, belying the back porch predilections inherent in the band's sound.

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Puro Instinct Puro Instinct - Slivers Of YouShare:Commenthometown: Los Angeles, CA categories: Dream Pop, Pop for fans of: Lush / Vivian Girls / Ariel Pink why you should check them out: What many wouldn't give to have been touring the world and making albums at the tender age of 16. Such is the case for [...]

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