This Week's New Album Releases (6/6/11)

If sorting through today’s mountain of noteworthy new releases inspires both giddiness and exhaustion, don’t say that we didn’t warn you. Battles takes a chance with their first record minus frontman Tyondai Braxton, Cults debut their long-awaited foray into the world with warm and fuzzy pop and former Everybodyfields frontwoman Jill Andrews makes her solo debut.

Battles – Gloss Drop
“With the extended hiatus and frontman Tyondai Braxton departing, it seemed like Battles would remain a phantom. However with regrouping and an introduction of a number of guest stars, the band is ready to ride again – their sophomore effort Gloss Drop sounds almost defiant; shaking a fist at all those who were prepared to write them off as a flash in the pan.” Read Luke Winkie’s review of Gloss Drop.

Black Lips – Arabia Mountain
“Drinking champagne out of Mark Ronson’s Grammy Award may be the best move that the Black Lips have ever made. In addition to ranking among the most badass moves in recent rock history, it sparked the collaboration between the Atlanta punk rockers and the retro-minded producer on their latest album Arabia Mountain. While the pairing may seem odd, it ended up being a match made in heaven. " Read Max Blau’s review of Arabia Mountain.

City and Colour – Little Hell
Swapping the studio for an abandoned church and favoring a dated analog tape machine over polished equipment, Dallas Green embarks on a charmingly stripped-down endeavor with his third release under the moniker City and Colour. Little Hell‘s blissfully played-down accompaniment provides a blank canvas for Green’s mesmerizingly pure vocals.

Cults – Cults
“If you look beyond the initial snapshots of Cults generated by their lively and accessible sound, you’ll find that this is a band more concerned with exploring sonic textures and rich layering. As a result, Cults is not simply a record mired in instantaneous pop hooks, but one that impressively reveals itself over subsequent spins.” Stay tuned for Max Blau’s upcoming review of Cults.

Dale Earnhardt Jr. Jr. – It’s a Corporate World
If you set aside the fact that their hometown will forever be known as the ‘Motor City’ and ignore the quirk that their name pays tribute to the famous NASCAR driver, you’ll quickly find that laid-back Detroit indie-pop duo Dale Earnhardt Jr. Jr. aren’t interested in revving engines. Instead, the duo of Daniel Zott and Josh Epstein are concerned with creating a refreshing wash of shimmering electronics and bare-bones percussion—a distinctive blend of Washed Out’s synth layers and The Dodos’ drumstick-driven medleys.

Dawes – Nothing is Wrong
“Taylor Goldsmith’s songwriting and the band’s reverence for their musical forefathers aren’t the only shining aspects of the new record. After two years of fine-tuning their live sound, all of the members of Dawes have become master musicians not only individually, but as a collective.” Read Wyndham Wyeth’s review of Nothing is Wrong and watch the band perform the album live at Paste here.

Frank Turner – England Keep My Bones
“Turner brings a compelling passion to his work (“no one gets remembered for the things they didn’t do” is one of his archetypical lyrics) and sings with enough gusto that you believe it when he speaks of rock ‘n’ rolls salvation powers, but he includes enough shameless shout-along choruses to ward off accusations of navel-gazing.” Read Michael Tedder’s review of England Keep My Bones.

Fucked Up – David Comes To Life
" David is a ridiculously epic—sometimes too epic, frankly—rock opera concept album set to a play. A mouthful, no? It’s a “modern day morality tale,” according to the band, featuring all kinds of stuff great stories include, from love to war to unreliable narrators, and the whole thing very nearly breaks the one and a half hour mark. It’s kind of exhausting just writing about it." Stay tuned for Austin L. Ray’s upcoming review of David Comes To Life.

Givers – In Light
“Speaking strictly sonics, In Light is literally the brightest album I’ve heard in ages (Insert “Gotta Wear Shades” joke here), but it’s far from slick—the heat generated comes from the sweat of its players, who sound as if they’re tracking live from a sweltering jungle on Mars. On headphones, the adventurous details really cut through—“Up, Up ,Up,” in its four-and-a-half minutes, parcels out flute, a steroid synth-bass, handclaps, and glockenspiels—but this is music equally suited for a psychedelic dance floor." Read Ryan Reed’s review of In Light.

Jill Andrews – The Mirror
Jill Andrews’ honesty is what makes the Tennessee native a standout amongst the ever-expanding sea of singer-songwriters. Serving as the first full-length solo release for former Everybodyfields frontwoman, The Mirror graciously captures Andrew’s dynamic, yet familiar vocals as they explore both the drama and beauty that accompany her experiences.

Joe Ely – Satisfied at Last
For his first studio release in almost four years, Ely provides listeners with his trademark Texas blues while still managing to stay fresh—no small feat for a man who has been in the business for nearly 40 years. While the title suggests otherwise, the country legend is still clear in his preference for songs that capture the despair of the lonely and down-trodden.

Joe Jackson – Live Music
Documenting Jackson’s 2010 European tour, Live Music is the experimental musicians sixth live release and perfectly captures the enthusiasm that swept through the audience during his legendary performances.

Madeleine Peyroux – Standin’ On The Rooftop
“Peyroux has assembled an agile backing band for Standing on the Rooftop, including Marc Ribot on guitar and Me’shell Ndegeocello on bass. They take her further out of her default jazz sound and further into rootsy Americana, lending the songs a feathery melancholy that lacks the punch of jazz or the specificity of roots.” Read Stephen Deusner’s upcoming review of Standin’ On The Rooftop.

Sondre Lerche – Sondre Lerche
“At 10 tracks and 40 minutes, his new self-titled album isn’t so much a bold departure as it is a tight consolidation of strengths. But when you’re operating at Lerche’s level, that’s an impressive thing to hear.” Read Jeremy Goldmeier’s upcoming review of Sondre Lerche.

Tedeschi Trucks Band – Revelator
Derek Trucks and Susan Tedeschi’s 11-piece backed partnership yields a mixture of funk, blues and soul with Revelator. The passion injected into the record is undeniable and fuels tracks that meander between thoughtful experimentation and slow-building ballads that are rich with intensity.

The Coathangers -Larceny and Old Lace
“When viewing a band as a collection of musicians, The Coathangers are completely serviceable but rarely distinct. The tempos are brisk, the compositions uncluttered and the guitar and keyboard-driven hooks feel are catchy enough. But when viewing a band as a collection of personalities, The Coathangers show enough likeable fierceness on Larceny & Old Lace to justify their decision to take this thing beyond the stages of house party goof.” Stay tuned for Michael Tedder’s upcoming review of Larceny and Old Lace.

The Farewell Drifters – Echo Boom
“The cobbled-together group of musicians plays with all the enthusiasm of kids opening presents on Christmas morning, unapologetic optimism practically gleaming in their eyes.”
-Whitney Baker

The Postelles – The Postelles
“The Postelles’ debut makes a clear statement of who The Postelles are, the kind of band you can imagine playing in powder blue suits on a stage lit by a disco ball, shirts unbuttoned, bowties loose. They’re the group that would have been had Marty McFly stuck with his band at the Under the Sea dance and helped develop their sound into a mix of their Motown roots and the rock that would follow, touring the boozy backwaters outside Hill Valley to the delight of any crowd.” Read Jeff Gonick’s upcoming review of The Postelles.

The Rosebuds -Loud Planes Fly Low
Kelly Crisp and Ivan Howard take a turn towards the depressing in The Rosebuds’ latest release. On Loud Planes Fly Low, the former couple explores the darkness that led to the ultimate destruction of their marriage, creating a lyrical timeline with wrenching song-writing and an equally as melancholy delivery.