Reliving the future’s past through a constellation of references to jazz, psychedelic funk, hip hop, and techno, the music of Cosmogramma never fixates long enough to crystallize; any groove that spontaneously emerges is quickly subverted, churned up in favour of creating new maps and new vectors, new prisms through which to experience forms of music we’ve all heard before.

Best tracks: Computer Face/Pure Being; Tennis; Satelllliiiiiiiteee

This album is available online: iTunes | Amazon

The album is being talked about in certain circle as a album of the year, but this is no release to shout about from the rooftops- its grip soft and easily shrugged off by those who choose to pay it only passing attention. Live with it a while, though, and High Violet rewards patience with songs that colour one’s waking existence, becoming vivid night-time narrative when curtains are drawn.

Those who’ve embraced Matt Berninger’s baritone, and subsequently each fascinating detail that trails in its wake, have discovered a band for life – for love and loss, euphoric highs and exhausting lows. For everything, always. Berninger’s lyrics are incredibly engaging; but his stories, delivered with wrenching sincerity, form the first point entry for newcomers awaiting enlightenment. High Violet is an album characterized largely by absence, and displacement – of being someplace other than ideal. It is the sound of a band taking a mandate to be meaningful rock band seriously, and they play the part so fully that, to some, it may be off-putting. But these aren’t mawkish, empty gestures; they’re anxious, personal songs projected onto wide screens.

Best tracks: Terrible Love; Bloodbuzz Ohio; English

This album is available online: iTunes | Amazon

Sure, critics have opined that the album is scatterbrained and lack focus, but this is Xtina we’re speaking of; in her mind, there seems to be no genre of music she can’t do. And with a voice like hers, who can blame her? On Bionic, sex remains her forte, but on tracks like the endlessly beautiful You Lost Me, she goes back to a vulnerability last seen on Stripped, her classic 2002 break-out album. The album’s title track is explosive and catchy, sounding just like something from Santigold’s debut (she had a hand in creating the track); Woohoo with Nicki Minaj sees her coasting atop a dancehall-lite beat care of Polow da Don; while on Elastic Love, she sounds just like MIA, who shares writing credits willingness to experiment with her sound and her voice, the alum is forward-thinking, playful and fun.

Best track: Woohoo; Elastic Love; You Lost Me

This album is available online: iTunes | Amazon

However, it also comes fully loaded with more hooks than your average pop album’s entire tracklist. The bulk of the album is comprised of stiff beats and in-your-face bluster that attempt to portray Robyn as more impenetrable machine than flesh-and-blood sweetheart: she makes like a petulant prima donna amid software sirens, computer bleeps, and a menacing Thriller synth-grind on the opening track Don’t F**king Tell Me What To Do; she’s a digitally chin titanium mama” with “a lotta automatic booty application on the glitchy Fembot; and she laments everyone’s failure to rise to her lofty standard on None of Dem, a tech-epic collaboration with Royksopp.

Equally brilliant is Cry When You Get Older, a sleek slice of electro relationship advice, in which Robyn tries to pass on pearl of wisdom to the young kiss she sees in clubs scraping chorus that manages to sound uplifting even when it’s talking about how painful love can be. Equally, the fragile, piano-led Hang with Me may seen desolate but its message is clear; treat me nicely and I’ll reciprocate. In one couplet, it manages to sum up the differences in the way men and women approach relationships: “I know what’s on your mind/There will be time for that too/if you hang with me”. But what has to be the best song here, in fact one of the best songs of the year, is Dancing On My Own, a cool slab of heartbreak that chronicles the loneliness of epic disco night.

Best tracks: Don’t F**king Tell Me What To Do; Fembot;

This album is available online: iTunes | Amazon

Known for their energetic and wild performances, the duo, whose only live instruments are the guitar and vocals, is MIA’s favorite band right now… or so the blogs would have believe. It’s not hard to see why though-with Miller on beat production, guitars, and song writing, and Krauss on vocals – they ram their tracks together creating a collage of sonic worlds, something not unlike what MIA does herself. Their electronic beats thud with gut-rattling low end; guitars are distorted siren squalls (A/B Machines), or thoroughly crunched power chords (infinity Guitars), or playful, beach bum strums (the beta Band-y Rill).

Obviously influenced by My Bloody Valentine, Beastie Boys, Crystal Castles and course, MIA, but sounding like none of those acts, Sleigh Bells’ music hits hard, in a hugely satisfying way. Debut album of the year!

Best tracks: Tell ‘em; Kids; Infinity Guitars

This album is available online: iTunes | Amazon

Get this album online – Amazon | iTunes

In summary of Janelle Monae’s Metropolis, two years ago, I expressed surprise at how few critics had cited her as one of that year’s best new discoveries, or even bothered to review her EP. It’s not like Monae didn’t have the goods: cool, weirdness, undeniable talent, plus a kick-ass pompadour. Metropolis was more than an arty collage of pop music; it was a master exploration of alien rebellion and love denied. Its idea was not without precedence but it’s been decades since we’ve had a Ziggy Stardust figure in our midst, let alone an interesting female version. Through her persona, Cindi Mayweather, Monae unearthed an ethereal yet groovy space that never dropped the ball.

When last we left her, Mayweather was busy dismembering her robotic parts and headed to Earth in hot pursuit of love. The ArchAndroid, thus, is the combination of her search for Anthony Greenwood and the discovery of her own intrinsic value to her robotic race. It’s a Neo-like transition that takes root in historical and colourful literary references but somehow not overburdened by it all. The opus is comprised of two separate concept suites over 70 minutes and garnished with retro musical production.

Suite II leads off with Overture, an instrumentation piece that signals Cindi Mayweather’s arrival on Earth in search of the titular object. Monae steps immediately into a purple patch: Dance or Die is a nifty club number with a stunning guitar rave up towards its end. Faster flames out into a Badu-esque last few minutes that brings the funk curtain down on any thoughts of insincere flattery. Locked Inside juxtaposes her lovelorn vocals with a warm chorus and rhythms that wash over in seamless bliss. Come Alive does just that under her screams and electronic guitars. Oh Maker is a simplistic ballad but the multiple-vocal work is brilliantly layered to full effect. Mushrooms and Roses is a track dipped into so much Prince-like energy that by the time the electric guitars trip in you’ve already died and gone to heaven. These are simple songs but when the music is this glorious then it feels miles ahead of anything else R&B has now save for Erykah Badu and Santi White. Cold War and Tightrope, the first two singles, both gloriously expand on Monae’s funk credentials. Tightrope evinces so much dirty funk that it’s hard to imagine your mid-section not quivering under its command. Cold War ups the amps with its horns and irresistible beats. At such groovy moments, Monae becomes inhabited by a huge source of proto-funk, the source origin I’m still trying to figure out, but all those years hanging around with Outkast have clearly influenced her.

Had it ended there, then it would have been perfect but as Suite III’s Overture gets going, one realizes that if her focus was on satisfying our needs before, now she’s about to refocus on her mission. Neon Valley Street pulls off the Baduesque trick but there’s something missing from the glint in her eye. Suite III totally slows down her frantic pace and thus we are finally forced to face the naked aim of this effort. The ArchAndroid stumbles in the homestretch, though, because of the overlap of different directions.

Which is frustrating because of her aesthetic slightly suffers by trying to cram diversity where staying on point would have sufficed. The duet with Of Montreal (Make the Bus) is contextually mismatched here and as brilliant as Wondaland is, it only leads into the puzzling last trio of songs. These are the songs that focus exclusively on Greenwood (57821, Say You’ll Go & Babopbyeya) but, unlike Metropolis, the focus on him her genre-exploration has finally caught up with her.

This is not to distract from the praise Monae has now been getting from critics. Given the heavy staleness that hangs over contemporary pop her attempt to bring something new is good. Never mind the fact that this gushing critic love is belated, The ArchAndroid is an established body of work from which to spring from. It doesn’t have masterpieces like Many Moons or Violet Stars Happy Hunting but it marks the point at which we’re making Lauryn Hill comparisons and fast-tracking to next year’s Grammy acceptance speech for Best Album. We’re all playing our part now in recognition of her talent and hype. How else could Clayton Purdom (cokemachineglow.com) write that her music is exactly the type of stuff serious music lovers been waiting for since forever. Oddly enough, he further states that while The ArchAndroid isn’t his favorite album of the year, it’s the best by far. As someone who’s been in her corner since the start I read conscientiousness in such a statement as well as fiction. It’s a good sophomore but let’s not add pressure by applying the term ‘epochal’ because that only terrifies me as to the great expectations being put on her now…the same expectations that have irrevocably wrecked D’Angelo and Lauryn Hill. The same expectations that had Badu sit out five years due to writer’s block. For now, though, it’s just enough that our heroine is still firmly caught up in the hunt for her true love. The only difference is that now she knows that her worshipful audience has finally shown up to register its support.

Reviewed by: N.M.

1. Flash Delirium by MGMT Amazon | iTunes – Building and building to general anarchy, the song is a great indication of the new direction of this sensational band. But maybe they had it in them all along.

2. Freak by Estelle feat Kardinal Offishall Amazon | iTunes – Produced by David Guetta fresh off his recent five Grammy award nominations the French house DJ and Estelle conjure up one for all the ‘vogue’ing queens the world over.

3. Erykah Badu feat Lil Wayne, Jump Up in the Air (And Stay There) – it’s a web-only release, but that doesn’t affect its utter brilliance. Why didn’t the two collaborate before now?

4. Rude Boy by Rhianna Amazon | iTunes – Tongue-in-cheek, or not-so-tongue-in-cheek, depending on how you view the lyrics, it’s Ri-Ri’s biggest hit and most memorable song in a while.

5. On To the Next One by Jay-Z feat Swizz Beatz Amazon | iTunes – One of the coolest samples of cool song (Justice’s D.AN.C.E.) in recent memory. Hov is a beast.

6. Cold War by Janelle Monae Amazon | iTunes – Call it the female version of Gnarl Barkley’s Run.

7. Telephone by lady Gaga feat Beyonce Amazon | iTunes – A club song featuring a harp? Beyonce rapping? And did you see the video? Welcome to the weird world of Gaga.

8. Lil Freak by Usher feat Nicki Minaj Amazon | iTunes – Yes, Minaj is a gimmicky weirdo, but in spite of her, and thanks in a large part to Polow da Don’s great booming pyrotechnics, the song works.

9. I Feel Better by Hot Chip Amazon | iTunes – Repetitive, sweeping, blissful; but really, two words: Hot Chip.

10. Stylo by Gorillaz Amazon | iTunes – Featuring guest vocals from Mos Def and Bobby Womack (yes, Bobby Womack) the 3D cartoon band churns out another funky, effortless number.

With its title, lyrics and concept supposedly based on The Influence of the Blue Ray of the Sunlight and of the Blue Colour of the Sky, a pseudoscientific book published in 1876, the group’s third studio album was produced by David Fridmann, best known for his psychedelic work with The Flaming Lips and MGMT. Not surprisingly, the effort is a noted departure from the act’s usual pop rock. But, as the title of the third track reads – all is not lost.

Cooler, calmer, and more varied, the record thins out the sharp guitar riffs and cultivates a darker atmosphere in which the band can release emotions other than the goofy exuberance the band, up until this point, has been known for. Needing/Getting reels out like a Strokes/Interpol unreleased track; WTF? Sounds lifted from My Morning Jacket’s awesome Evil Urges opus; while White Knuckles is one hell of a 80s throwback.

Best tracks: This Too Shall Pass; All is Not Lost.

Buy this CD online: iTunes | Amazon

Formed in 2004 in Baltimore, Maryland, Beach House is one of last decade’s most acclaimed indie duos. They’re still pretty far from having a cult following or breaking out a la Vampire Weekend, but in the process, they make beautifully atmospheric dream pop.

Much like their good friends Grizzly Bear, Beach House have made testy, breathy cooing and harmonizing into an art form rarely seen since the days of the Gregorian chant. Beginning with the gorgeous Zebra, right on through to closing track Take Care, it’s difficult to tell exactly what is being sung, or even who is singing it, but that hardly matters – the heartache and melancholia are evoked perfectly. Yes, the album is monochromatic in its feel and sound, but on a record this rewardingly ebullient, that’s not a problem. The accompanying DVD, comprising videos for each of the record’s songs, looks interesting, but seems like something to spend time with later, after the record has had a chance to sink in. For now, the music has more inspiring and vivid images.

Of all the bands that channel heart break, no one coats it in gold and jewels like Beach House do. They’re a band that triumphs in subtleties rather than innovation, making Teen Dream a spectacularly comfortable listen. Best tracks: Silver Soul; Used to Be; 10 Mile Stereo.

Buy this CD (or Mp3s) online @Amazon

Get it online – Amazon | iTunes

The very first line of the track of Life is Sweet! Nice to Meet You – ‘nothing seems to be happening/except a shift from your world’ – sums up the entire feel of the newest invention of Devonte Hynes aka Lightspeed Champion. The world he mentions on Dead Head Blues is not one inhabited by anyone other than himself, apparently, but such is the curse of the burgeoning genius. Yes, that’s right, Hynes is a musical genius, as much a genius as Connor Oberst is, and Andrew Bird, and even bigger titans like Spencer Krug and Prince.

For the uninitiated, Hynes, a 24-year-od British composer and songwriter who was born in Houston, Texas, embarked upon a solo career two years ago with Falling Off the Lavender Bridge, a self-conscious pop-rock project that hinted at his emerging talent. It would take others years to dust up brilliant tracks like Galaxy of the Lost and Tell Me What It’s Worth the first time around, let alone ever. Before the solo outing though, he was a member of dance-punk band Test Icicles and interconnecting this entire period was a plethora of online bootlegs and recordings.

What is symptomatic of the work, though, is the restlessness that courses through his brain. Hynes’ approach to pop is jittery at best but when he merges it with rock then he becomes an entirely different musical beast. Falling Off the Lavender Bridge, for all its faults, at least accomplished this. This new album, however, like a harsh AA meeting, has found him sobered up to the point of painful straightness. Now, instead of pop-rock experimentation, we’re limited to boring adult fare like the aforementioned Dead Head Blues.

Life is Sweet! Nice to Meet You is not a bad album, by any stretch, but it won’t have critics declaring him the new Beck, either. And for rock geeks like Hynes, that’s what counts: due recognition of his art. But then that’s the problem with this 15-track record; its ultra serious musical landscape is designed for the listener to recognize it as such and nothing else. Which is sad because, at 23, with the rabid producer’s resumé he’s compiled so far, Hynes can rest assured that we consider him prolific. Maybe what he lacks now is just the raw data needed (life experiences) to people his songs. Falling Off the Lavender Bridge at least could cull from that, but here he’s juxtaposed growth with grasp but has left out anything personal to make a crucial connection. Thus, Life is Sweet! Nice to Meet You can’t hold a candle to, say, Patrick Wolf’s last gem, The Bachelor.

Speaking of Wolf, both artists still share a slavish admiration of others. It’s great to look up to innovators like David Bowie and Madonna but it’s another thing to actively try to relive their careers. Wolf is still guilty of such duplicity whereas Hynes is still entrenched in audio guilt. So, Life is Sweet! Nice to Meet You wears its idols on its sleeves and this causes serious overlap and identity crises. Middle of the Dark is a quasi-Queen pop number that shows a glimmer of originality but it’s trapped under so much Freddie Mercury self0consciousness that it ends up being the most frustrating thing here. Romart is genetically lined by the presence of Oberst; in fact, if this wasn’t a Lightspeed Champion album, I’d swear it was a new Bright Eyes (Connor Oberst’s band) track.

When Hynes rests his heroes, however, the music comes across more naturally: Sweethearts builds nicely into a living, breathing thing with vocal urgency and guitars crashing all around. There’s Nothing Underwater fits snugly too, into an original space in which he manages all the little tweaks effectively. Madame Van Damne oozes wry humour; the type that could have sexed up the album much more effectively than his gender-inappropriate lyrics. Even Faculty of Tears (‘if he’s so evil/then/why does he like to kiss’) shows spurts of the obvious brilliance this young man can conjure, both lyrically and musically. All four tracks point to the need for Hynes to step out of the shadows that he’s been at pains to present on a grand scale for so long; time now to breathe the music instead of merely reinterpreting it. I’ll go even further to state that Hynes will overhaul both Bird and Oberst once he realizes that the guitar is more than just a handy prop. With that crazy, cropped hairdo of his and thick-lensed glasses, he’s got the look. Now, it’s time for him to go forth and seek the complementary swagger.

Get it online – Amazon | iTunes