| Pop. 1280: The Horror The N.Y. noise-punk quart's debut LP is an unabashedly grim collection, one that conjures the dystopian futurism of an early David Cronenberg film delivered with merciless brute force. |
| Prinzhorn Dance School: Clay Class Five years after Prinzhorn Dance School's self-titled debut, the UK post-punk duo of Tobin Prinz and partner Suzi Horn remain defiantly un-evolved. |
| Trailer Trash Tracys: Ester After surfacing three years ago with a fresh, powerful sound, the London dream-pop quartet release their debut LP. |
| Blondes: Blondes The Brooklyn outsider house duo's debut LP collects three previously released 12"'s, a pair of new songs, and a second disc of remixes by Andy Stott, Teengirl Fantasy, and Laurel Halo, among others. |
| AraabMuzik: Instrumental University Following on last year's hypnotic Electronic Dream, this set collects beats made for rappers including Lloyd Banks, Fabolous, Jim Jones, Cam'ron, Vado, and others. |
| Benjamin Damage & Doc Daneeka: They!Live On paper, these bass-driven house producers seem like such a perfect match you'd expect any musical collaboration to mirror their work apart. It's surprising, then, how unlike their former selves They!Live turns out to be. |
| Various Artists: Tally Ho! Flying Nun's Greatest Bits The influential New Zealand label put together a 2xCD with songs from across its varied catalog to honor its 30th birthday. |
| The Twilight Sad: No One Can Ever Know The Scottish trio's frigid, militant, rhythmic Andrew Weatherall-produced third LP is more about obsession than release. |
| Windy & Carl: We Will Always Be The Michigan-based husband and wife dream-pop duo's newest resembles an orderly dissection of the relationship cycle, making it feel as if the usual barriers between audience and performer simply aren't there. |
| Wilco: iTunes Session This eight-song EP, comprised primarily of tracks from Wilco's most recent album The Whole Love, also finds them unearthing older song-oriented material that suggests they're getting back to the business of being a pop band. |
Pitchfork