Amoeba Music

Bo Burnham's Netflix special is the gift that keeps giving, this time in the form of the limited deluxe 3LP vinyl edition of Inside. If you dug the wickedly funny songs from the show, then this box set is a must. It features the original 20 ultra-topical, self-aware, hysterical songs from the Netflix special, along with 13 tracks from the Inside outtakes, and 13 score tracks, all housed in a beautiful box including 3 dual-cover LP jackets and individual RGB translucent outer sleeves.

North Americans, the fusion of guitarist Patrick McDermott and pedal steel player Barry Walker create a lush, minimal soundscape on their latest release, Long Cool World. McDermott and Walker have melded elements of ambient and drone across acoustic American Primitive melodies like alchemists, crafting a unique sound that is light and tranquil yet with a pensive seriousness.

Seattle’s grunge legends are back, celebrating their 35th anniversary with a new album, Plastic Eternity. On their 11th studio album, the band has stayed true to their punky alterno-grunge roots while weaving elements of ‘60s psychedelic rock throughout the album, most notably on the trippy lead single, “Almost Everything.”

Trugoy the Dove has passed on from this world, but the timeless hip-hop of De La Soul lives on! De La silenced the naysayers on their sophomore album, De La Soul Is Dead, shedding their hippie shroud and delivering a knockout punch. This crucial classic from Long Island’s finest finally gets the long-awaited reissue that it deserves.

The originators of kawaii metal, Babymetal, return with a smashing new album, The Other One. Fusing J-pop (albeit with a darker, more melancholy bent) with heavy metal, the songs feature ripping, brutal guitar riffs and honey-sweet yet powerful vocals from main vocalist Su-metal. Be assured that while "kawaii" (or "cute") is often associated with this band, they truly, truly do kick ass. The Other One is a thoroughly enjoyable thrill ride of an album from one of the most innovative, exciting, and just straight-up fun bands pushing the typically dude-heavy genre into new territory.

Ladytron are back with one of their best records in recent memory, Time's Arrow. The band’s distinctive crystalline, icy sound is as darkly enchanting as always, but this time there’s some light amongst the shadows. The mood of the album moves naturally from tightly-wound, near-claustrophobic motorik electro-pop to more ethereal, dreamy, searching sounds. Ladytron sound like they’re stretching their wings on these songs; it’s a fitting soundtrack for our contemporary moment, in which things can sometimes feel so dark, but yet there’s always a glimmer of hope and transcendence.

Paris-based Oracle Sisters recorded Hydranism on the Greek island of Hydra during the 2020 lockdowns. In what has to be the most romantic pandemic-album backstory of all time, the band sang together in a ballroom, dined in a wine cellar, and made the best of being trapped on an island where the boats were suddenly grounded. Perhaps it’s this sense of adventure and experimentation that gives the resulting album such a dreamy yet angst-free feel. “Tramp Like You” is folksy and charming while “RBH” is one of those catchy, easy-going tracks that’s destined to drift your way across multiple car stereos this summer. “Hot Summer” runs in the vein of Lou Reed, Bob Dylan, and other languid-voiced chroniclers of daily life, in this case, a sax-inflected summer day loaded with possibilities. Hydranism may have a great story behind it, but it’s the well-crafted songs and lovely atmosphere that’ll keep you coming back for more.

Blondshell’s self-titled album is the debut from LA musician Sabrina Teitelbaum, formerly of the more pop-oriented BAUM. During the pandemic, Teitelbaum started writing grungier, more rock ’n’ roll tracks and Blondshell is the rewarding result. On “Veronica Mars,” what starts as a quirky yet bristling look back at the past soon becomes a full-out scorcher. “Kiss City” has the rhythms of seductive ‘80s R&B and the soaring guitars of dream pop, a rush of emotion that feels like falling in love/lust. On the album, Teitelbaum uses gritty rock ’n’ roll and self-deprecating lyrics to approach intense emotions: What if I let this kill me?” she sings off a less-than-stellar, addictive relationship on “Sepsis.” The combination gives her a unique voice in the current indie rock landscape, and if Blondshell the album is any indication, Blondshell the artist is one of the most compelling artists in a while.

Mexican-American heavy-hitters Marisol Hernández and Los Texmaniacs team up for Corazones and Canciones, a collection of rancheras and boleros with a deep history and a fresh sound. As La Marisoul and Los Texmaniacs, they sing in both Spanish and English, the tracks alternating between festive numbers and dreamy ballads. On “Mucho Corazon,” it’s a swooningly romantic situation with guitar, strings, and accordion. On “Las Nubes (The Clouds)” it’s a rollicking good time, a dance number for dancing in the sunshine. Whether you’re a fan of Mexican music or are new to the scene, the intriguing, emotional Corazones and Canciones deserves to be heard.

Sylvan Esso’s No Rules Sandy is a hazy summer daydream of an album. During the album sessions, the band decamped to Los Angeles, where they focused on experimenting and improvising. Perhaps it’s not surprising then that there’s a serpentine quality to the songs; the listener never knows where the next turn will take them, but oh boy is it an enjoyable ride. The songs flow from almost ethereal Stereolab-esque electropop to glitchy, distorted, yet ultimately danceable party tracks. No Rules Sandy is one of Sylvan Esso’s most exciting records with enough toe-tappers to and unexpected twists to make any fan happy.

Sylvan Esso’s No Rules Sandy is a hazy summer daydream of an album. During the album sessions, the band decamped to Los Angeles, where they focused on experimenting and improvising. Perhaps it’s not surprising then that there’s a serpentine quality to the songs; the listener never knows where the next turn will take them, but oh boy is it an enjoyable ride. The songs flow from almost ethereal Stereolab-esque electropop to glitchy, distorted, yet ultimately danceable party tracks. No Rules Sandy is one of Sylvan Esso’s most exciting records with enough toe-tappers to and unexpected twists to make any fan happy.

Margo Price’s latest, Strays, is an eclectic, emotional journey from beginning to end. “Been to the Mountain” kicks things off with driving, defiant energy, the melodies rooted in psych and country rock. “Change of Heart” adds that psych patina to a rock ’n’ roller of a track with underlying pop sensibilities. Towards the end of the album, the sweeping strings on “Lydia” bring a brooding, melancholic atmosphere to a country-infused tale of regrets and recalibrations. It’s one of Price’s most affecting, haunting songs. Strays is Price at her most powerful and unforgettable, with special appearances by Sharon Van Etten, Mike Campbell, and Lucius.

Lake Street Dive’s Fun Machine: The Sequel is pure good times. The titular fun machine is basically a jukebox of the band’s favorite songs to listen to and to play; it’s their second covers record and it’s straight-up filled with bops. The band’s R&B and neo-soul stylings heighten the emotions of the originals, bringing out the unsettled, lovelorn desperation of Dionne Warwick’s “Anyone Who Had a Heart” and emphasizing the party vibe of The Pointer Sisters’ “Automatic.” An immensely enjoyable, exquisite album that will remind you of just why you love music.

Ghost delivers another solid scorcher of an album in the form of IMPERA. This time the band’s turning their considerable/formidable talents toward an ‘80s-influenced metal style, with fierce riffs and anthemic melodies. Few bands could go this hard, bringing such menace and majesty to both ballads and bangers alike—but Ghost, of course, pulls it off with aplomb. If you’ve ever dreamt of an arena rock album about the collapse of empires fronted by a menacing pope figure, this one’s for you.

It’s not summer yet, but the vibe is so strong on Miley Cyrus’s new album, Endless Summer Vacation, you’ll swear it’s all sunshine and sweat. If you dug the lead single “Flowers,” this album is a must-hear, with some of the popstar’s most intoxicating tracks yet. Miley has said that the album consists of two parts: AM, the time of fresh awakenings and new possibilities, and PM, the sexier, seedier side. Listen and you’ll hear it. And with this many irresistible tracks, you’ll want to keep Endless Summer Vacation on repeat.

Brooklyn country/rock singer Dougie Poole brings underground grit, a deep understanding of genre, and sardonic wit to his third solo album, The Rainbow Wheel of Death. Named after the spinning pinwheel that always foretells computer trouble, a sight Poole became extremely familiar with while working as a freelance computer programmer in the wake of the 2020 live music shutdown. It's also a metaphor for the stasis many of us feel as we grapple with reacquainting ourselves with society and facing the multitude of problems stacking up at our cultural doors. If that sounds like a downer of a concept, fear not. Poole brings warmth, tongue-in-cheek humor, and authenticity to the tracks. A must-hear for fans of throwback country and non-fans of the contemporary zeitgeist.

Halloween Ends is the final installment in the Halloween series and with John Carpenter handling composer duties, it's a fittingly epic send-off. Alongside Cody Carpenter and Daniel Davies, John Carpenter has created some truly chilling tracks, replete with all the stabbing synths, icy soundscapes, and menacing melodies that have made the Halloween scores so iconic. The album both inspires dread and attraction; the songs balance a sense of majesty with a sense of ineffable terror. What made the original soundtracks so brilliant will draw fans to Halloween Ends; it's Carpenter's evolutions in sound and ongoing ability to grip listeners by the heart (and throat) that'll keep them coming back.

On Mil Coisas Invisíveis, or A Thousand Invisible Things, Brazilian singer-songwriter Tim Bernardes channels the easy, spirited sound of vintage Tropicália into his modern-day folk. An intimately personal expression, Bernardes shines as he bares his soul on pieces like “Nascer, Viver, Morrer” and “Misitficar.”

Dust is a strong set of sweepingly atmospheric Americana. There are moody, romantic chords, gently gritty vocals, and lilting odes to the smaller details in everyday life. Highlights include the lovely “Garden Song” and the slow-building title track.

Unknown Mortal Orchestra’s V is expansive, innovative, and playful. After UMO mastermind Ruban Nielson decided to weather the pandemic in Palm Springs, he started feeling lighter, sunnier, and interested in the pure emotionality of music, whether that music was deemed “cool” or not. The result is this ‘70s-tinged collection of tracks, all featuring the unmistakable UMO sound, just with the occasional patina of disco and mellow vibe of West Coast AOR. Nielson gives a nod to his family in Hawaii with the inclusion of elements of Hapa-haole music. He creates weirdo pop confections from this heady mix of sounds. V is a stew of moods, feelings, and genres, and it’s all the richer for this experimentation.