Hi there! Apologies to those of you who missed out on our celebratory rainbowsplosion on Friday.

People got a bit cranky with me, and perhaps understandably so — my favorite remark had something to do with “keeping the politics out of a music site” — despite that user 5’ing the entire Ted Nugent discography. Another user inquired as to why we decided to “fag up the main page”, which seemed odd considering there were no large bundles of sticks anywhere to be seen.

Despite our Communist name, Friday might have been the most important SCOTUS ruling since Brown v. Board of Education of Topeka, KS, and there’s no reason why we can’t dance.

You know, perhaps there’s lots of lumber in those pants.

On another note, what are you doing for your extra leap second? Some of you might not have been alive during the Y2K pandemonium, but alas, I assure you that, somehow, your computer will be just fine.

Let’s carry on, then, to our Q2 mixtape, which our staffers are again delighted to present to you. Featuring selections from Titus Andronicus to The Drays to Nicolas Jaar to Icicle to Witchwood to God is an Astronaut, please feel free to stream the playlist below for some of our favorites between April 1st and June 30th.

Not everything is in the Spotify playlist, though, so keep your eyes peeled for the streamables. Enjoy! –Jom

Titus Andronicus – “Dimed Out” (03:00)
The Most Lamentable Tragedy
Listen if you like: The Hold Steady, The Smith Street Band, Cymbals Eat Guitars
Facebook | Official site

As we await Titus Andronicus’ magnum opus – a 29 song, 93 minute rock opera entitled The Most Lamentable Tragedy – very few songs could have fueled the hype machine as well as “Dimed Out”. Serving as the lead single, it is true to its name. Everything is turned up, from the immediate adrenaline rush that kicks in at the first drum beat to the scream-along chorus led by Stickles in all of his furious, punkish glory. The electric guitar solo midway through only makes things even more epic. Imagine Titus Andronicus circa 2010’s The Monitor, only even more reckless and uninhibited. If “Dimed Out” is a sign of what’s to come when the band drops The Most Lamentable Tragedy on us in July, then we may be in for a formidable album of the year contender. As for now, we’ve already got one of 2015’s best songs. –SowingSeason

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Meg Baird – “Back to You” (04:18)
Don’t Weigh Down the Light
Listen if you like: Espers, Mariee Sioux, Joanna Newsom
Label site

Like most people under the age of 40, Meg Baird seems to really miss the ’60s. She’s best known for her work in late night psych-folk group Espers, but in her own time Meg likes to go all Joni Mitchell. A little bit faint for some – her music sounds like the shy person at a party who would rather be somewhere else – and Don’t Weigh Down the Light sees her more delicate than ever, but something just clicks with “Back To You”.

Maybe it’s the killer acoustic finger picking, or the completely uncharacteristic but satisfying guitar solo, or maybe just the bittersweet melancholy of Meg’s vocals. Whatever it is, I want more, which the rest of Don’t Weigh Down the Light frustratingly fails to provide. –Jonny Hunter

Cairo Knife Fight – “Reality Engine” (03:47)
The Colossus
Listen if you like: Queens of the Stone Age, Gozu, Weta
Facebook | Soundcloud

Years of waiting for a full length studio effort have ended now that the band have finally released The Colossus. They have always been a consistent unit and their mix of alternative rock/stoner and now industrial is interesting at the very least. Although ‘Rezlord’ and ‘No Longer Silent’ built the hype for the LP, ‘Reality Engine’ is the most representative one. This is a powerful song about being hooked on pills and losing the grip on reality. The metallic guitars along with the fast, stomping drums create an tensed atmosphere, while Nick’s wicked vocals builds up to the more melodic, falsetto-laden chorus and on to a brutal finale. This excellent tune is only a taste of what The Colossus is all about. –Raul Stanciu

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Chapter V:F10 – “Nectar” (7:03)
Syndrome
Listen if you like: Thorns, Windfaerer, Raventale
Facebook | Bandcamp

The process of unearthing obscure but noteworthy bands and albums is anything but rewarding most of the time; however, there are instances where little gems pop up and make some musical safaris a bit more worthwhile. A characteristic case in point is the debut album of the Ukrainian one-man post/black metal band Chapter V:F10. The man responsible, Astaroth Merc (Raventale/Deferum Sacrum/P’hevda Phenomenon etc.), wrote and performed the album in an (appreciably successful) attempt to create a soundtrack for some of the most dire periods of his life. Syndrome meets all of his initiatives in full, and track “Nectar” stands out of the lot as an emphatic demonstration of how the post metal aesthetics can be seamlessly fitted to old and modern black metal, as it was delivered by the Norwegian scene during the ’90s. –Voivod

The Drays – “The Fourteenth Floor” (04:17)
Look Away Down Collins Avenue
Listen if you like: The Stars of Heaven, The Blades
Soundcloud | Twitter

In the late Eighties, Stephen Ryan was the backbone of the country-tinged rock act The Stars of Heaven, who threatened to burn as brightly as their name suggested when they secured a record deal with legendary London label Rough Trade. Despite heavy backing from John Peel, the Stars never achieved the success their two albums warranted, and Ryan spent much of the Nineties and turn of the millennium in and out of music. His latest venture with The Drays’ debut single, “The Fourteenth Floor,” captures the spirit of old with a rockier bent, sitting somewhere between Crazy Horse and the Flying Burrito Boys and providing the ideal backdrop to their excellent debut album, Look Away Down Collins Avenue. –Dr. Dave de Sylvia

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Monobody – “Lifeguard of a Helpless Body” (04:15)
Monobody
Listen if you like: Scale the Summit, The Reign of Kindo, CHON
Bandcamp | Facebook

There’s a certain artful depth to the rapidly evolving soundscape of a track like “Lifeguard of a Helpless Body” that can keep its flow so tight and seamless despite its final measures sounding so little like its first. Throughout the track, the Chicago-based Monobody deliver a wallop of ear-catching hooks that guide you gently through the diverse and colorful garden of sounds of the track while a big ol’ bundle of groove elevates things at the closer to subconscious level, handled by not one, but two bassists.

Monobody paint themselves nicely into a niche of jazz and metal influenced instrumental artists led by Scale the Summit and CHON with plenty of room to take a dominating stance within that group – provided they keep their fresh, interesting, and oh, so very smooth sound going. –Thompson D. Gerhart

Barenaked Ladies – “Duct Tape Heart” (03:04)
Silverball
Listen if you like: Great Big Sea, Guster, The Tragically Hip
YouTube Channel |  Facebook

I’m throwing “Duct Tape Heart” on here for a small number of reasons, but I first have to acknowledge writer TheMoonchild, whose review for this album is the first time I’ve seen anybody unironically use the expression “vanity project” to describe Barenaked Ladies post-Steven Page (sure, it’s been six years and three albums, it’s not like anybody would remember the name of Page’s first post-BNL project, right?). Polite dissent aside, I’m not going to counter a 1.0 review with a 5.0, but I do admire the band’s resilience in squaring off against old ghosts, especially Kevin Hearn and his second battle with leukemia. Even in the face of tragedy, the quartet prove with a song like “Duct Tape Heart” that they can still write ear candy that effortlessly allude to favorites Stunt or Maroon, yet help illuminate the band’s continuously-adjusting blueprint in writing pop music. “Say What You Want” and “Tired of Fighting With You” also come recommended. –Jom

Zella Day – “Ace of Hearts” (03:38)
Kicker
Listen if you like: Lana Del Ray, Mausi, Noosa
Facebook |  Soundcloud

Zella Day’s ascension to stardom comes as no surprise. In 2014, she took Lana Del Rey’s dreamy brand of pop, added a vital dash of energy, and perfected it. All of her best traits can be summed up with the top song from her 2015 debut LP Kicker, entitled “Ace of Hearts.” Alternating seamlessly between crystalline midtempo pop and soaring, infectious choral melodies, it easily goes toe-to-toe with “Hypnotic” as her most explosive single to date. Zella carries the track with her gorgeous and at times sultry vocals, but the production can’t be undervalued either. A simple but addictive beat is joined by buzzing, uplifting synths to give Zella’s angelic voice the ultimate platform. If you even sort of enjoy a good indie-pop song from time to time, then “Ace of Hearts” is a can’t-miss moment. Do your ears a favor and indulge. –SowingSeason

Nicolas Jaar – “No One is Looking at U” (07:49)
Nymphs II
Listen if you like: Darkside, Valentin Stip, Soul Keita
Facebook | Soundcloud

The only reason it is possible to describe “No One Is Looking At U” as the more normal of the two tracks on Nymphs II is because the other is so far in the direction of left field that it takes three minutes to start. “No One Is Looking At U” is closer, but only just, and only really because it has a semi-permanent rhythm. Typically cool bass notes set the tone, but Jaar really outdoes himself in pairing a haunted sample of the title with a garbled, woozy melody to make a mood that is relaxing yet decidedly on edge. Finish it off with an unsettling succession of distorted laughter, and we’re left with a track that sounds like Space is Only Noise‘s lunatic and heavily sedated brother. Quite odd, but no worse for it. –Jonny Hunter

Calexico – “Bullets & Rocks” (03:30)
Edge of the Sun
Listen if you like: Giant Sand, Lambchop, the idea of Latin-infused Wilco
Facebook | Official site

Calexico’s latest work is a lush, sunsoaked journey to Latin America and back to the US. Partly recorded in Coyoacan, Mexico City and Tucson, Arizona among other places, the band has managed to once more mix several Latin elements, alternative rock and country/americana a la Wilco into one beautiful and coherent unit. Amid the uplifting tunes lays one of the more uneasy highlights, ‘Bullets & Rocks’. A fairly straightforward ditty, concerning the insecurities of the modern world such as gangs vs. police wars or entire families being wiped off the face of the earth just for being caught in the middle of these ongoing battles. The music matches the mood, sharing a melancholic rhythm that gradually grows with the help of a steady horn section and gorgeous vocals augmented by the entire band. Undoubtedly, this is one of their best cuts in a while. –Raul Stanciu

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Icicle – “Dreadnaught” (Phace Remix) (04:39)
Entropy Remixed
Listen if you like: Noisia, Spor, The Upbeats
Soundcloud | Facebook

Talk of Phace’s remix of Icicle’s “Dreadnaught” – itself a classic in its own right – has been bouncing around the internet ever since someone took a crappy cell-phone video of what seemed like an edit of the original way back in 2013. The hype cycle is natural for music, of course (even a sudden album drop a la Beyonce still prompts hype of some sort), but a two-year waiting period with no official word on release until two or three months before is absurd. Given the monumental expectations people had been staking on this song, then, it’s easy to imagine it would flop – but Phace has done a masterful job injecting kilos upon kilos of fire into the song. With the German’s tinkering, “Dreadnaught” becomes a totally different machine, transitioning from a smooth 2AM roller with a luscious, glass-shattering bassline to a song with a Corvette’s worth of horsepower. SP:MC’s voice fits absurdly well over the remix, and it would almost sound like this was the original fit for the verse if the original weren’t already so untouchable. Undoubtedly one of the biggest drum & bass tracks of the year – if you haven’t heard any DnB yet in 2015, this is as good a starting point as any. –“Danger” Will Robinson

Witchwood – “A Place for the Sun” (07:11)
Litanies from the Woods
Listen if you like: Jethro Tull, King Crimson, Pink Floyd
Bandcamp | Facebook

Italy’s contribution to progressive rock cannot be neglected in every serious discussion about the genre, with new outfits regularly adding up to the country’s portfolio. Witchwood and their debut album Litanies from the Woods come as yet another safe bet from the land of Michelangelo and Galileo Galilei, a real treat for those into the all too known behemoths that forged progressive rock in the first place. “A Place for the Sun”, the first full-length cut of the album, combines expressive male vocals, elaborate, smooth and moderately convoluted arrangements and an anthemic aura that characterizes really important bands of that sort, old or new. –Voivod

Le Galaxie – “Put the Chain On” (04:38)
Le Club
Listen if you like: Fight Like Apes, Delorentos, Little Green Cars
Soundcloud |  Facebook

The road from beard-stroking, introverted post-rock to glowstick-wielding, effervescent electro-pop isn’t the most heavily-traversed – traffic jams are almost unheard of – and Le Galaxie have their difficulties along the way. Their first album, Laserdisc Nights 2, was probably too indebted to obscure sci-fi soundtracks, but follow-up Le Club is a brash and, as the name suggests, club-oriented dance record that flirts with Eighties kitsch without sounding too contrived, and “Put the Chain On,” like most of its tracks, boast a vocal melody that’ll stick to yer ears whether you like it or not. –Dr. Dave de Sylvia

Native Construct – “Mute” (06:21)
Quiet World
Listen if you like: Last Chance to Reason, Haken, Dream Theater
Bandcamp | Facebook

All signposts in progressive metal point here. All of the tropes and hallmarks from grandiose, cinematic intros to frantic drumming and riffing on quirky beats, lush vocal harmonies, and rhythmic robotic vocals against a free-flowing waterfall of smooth jazz guitar notes are here. While there may be a lot of white space between those elements, imagine some vaguely pretentious concept lyrics, sections of foreign influence you can’t quite put your finger on, and a dash of that intriguing spark all of the best new progressive metal needs to light you up, and you’ve got “Mute” and, moreover, Native Construct’s Quiet World as a whole: an exemplifier of all of the best qualities of progressive metal with a few new tricks of its own. –Thompson D. Gerhart

Ghost of a Dead Hummingbird – “If You Need a Place to Stay” (02:58)
Sin Forma
Listen if you like: Old Gray, More Than Life, Saetia
Bandcamp (available for free download) |  Facebook

Chicago’s had a pretty solid Q2. The Cubs don’t look like they suck for once (unless Steve Bartman’s turned into a specter of a hummingbird?), the Blackhawks won another Stanley Cup (Gary Bettman seemed so lost without Sidney Crosby around — and the Discovery Channel had one of my favorite burns this NHL playoffs), and the Windy City continues to be a hotbed for like-minded bands who place a heavy emphasis on community. After debuting under their new moniker in Summer 2014, self-described ‘Dreamo’ outfit Ghost of a Hummingbird’s palpable strengths on their debut are their sense of melody and tenacity as well as their heart: each song tells its own story, and it’s easy to immerse yourself amid the candor and the chaos. The trumpet on “If You Need a Place to Stay” is a particularly sublime highlight.  –Jom

God is an Astronaut – “Centralia” (06:47)
Helios / Erebus
Listen if you like: This Will Destroy You, maybeshewill, Exxasens
Official site | Facebook

While their music has never been on the progressive or the overly artsy side of the post rock genre (enough to become an elitist’s nightmare over the years), God Is An Astronaut have grown so much mainly due to the accessibility of their beautiful, melodic guitars and piano leads, blended with eerie soundscapes. In the past years they have become a bland copy of their former selves, releasing a couple of rather forgettable LPs. Fortunately, Helios/Erebus is a return to darker, heavy territories that managed to revive their creativity after a long period of slumber. At the heart of the record lies ‘Centralia’, one of the most dynamic tunes here. Starting with an infectious, Depeche Mode-esque piano melody, high pitched leads and synth pads, the song soon bursts into a raucous segment led by distorted guitar riffs. Their urgency makes for a suitable climax to one of their most adventurous records yet.

Rarely have the guys ventured like this into the metal sphere, but it suits them. ‘Centralia’ is one of the most engaging moments on an album meant to be listened by every fan who lost faith in them, as well as anyone interested in the genre. –Raul Stanciu

Of Monsters and Men – “Organs” (04:32)
Beneath the Skin
Listen if you like: The Lumineers, Mumford & Sons, the idea of Sharon Van Etten going the Icelandic folk route
Official site | Facebook

Of Monsters and Men have transformed from upbeat, stenciled-for-radio indie poppers to more creative and reserved thinkers. They still aren’t wildly unpredictable, but they seem to have mastered their niche in a way that few bands ever do during their careers. “Organs” is a stunning byproduct of that transformation, led by Icelandic vocalist Nanna Bryndis Hilmarsdóttir. The lyrics are the focal point here, with viscerally human confessions such as “I should not care but I don’t know how”, and “I take off my face / pull out my tongue / cough up my lungs, because they remind me of how it all went wrong.” It’s all very Sharon Van Etten (if she decided to go the Icelandic folk route), which of course marks a vast improvement over the hey!‘s that filled nearly every conceivable void on 2012’s My Head Is An Animal. “Organs” embodies a new Of Monsters and Men, proving that even the most formulaic of bands are capable of adding a brilliant twist. –SowingSeason

Alucarda – “Witches Dance” (06:02)
Raw Howls
Listen if you like: MC5, The Stooges, Demonhead
Bandcamp | Facebook

In contrast to many who claim that occult rock has ran out of inspiration and drive, Alucarda have come to say that both the genre and its dedicated disciples are still alive and kicking. Soaked in a sea of noise, the punk-ish heavy/doom rock of the Danish outfit is expected to set the relevant fan tank on fire with its filthy, and at the same time, 100% vintage groove. Although no cut is left behind with respect to the rest of the stack, “Witches Dance” is highly representative of what the band has to say to both musical friends and “foes”. –Voivod

Dance Gavin Dance – “Eagles vs. Crows” (02:57)
Instant Gratification
Listen if you like: The Fall of Troy, Tides of Man, Stolas
Facebook | Twitter

I know, I know, the lyrics suck (will they ever not?), but “Eagle vs Crows” is just such a fun and tight DGD song that it’s impossible for me to overlook. The interplay between every instrument (even bass!) is so clear, focused, and evenly shared that it makes for an incredibly intricate track that stands above the offerings of other bands, even as they start to bite into Swan and company’s signature genre mish-mashing.

Speaking of Swan – Will’s rapping, most lyrics aside (“This is the modern man / Modern plan / Future transition / Worship the work and the product / American joy division” is a real diamond in the rough), is at a “Spooks” level pinnacle here, pressing with an intense bravado that provides an excellent middle ground between Mess’s harsh intensity and Tilian’s delicate falsetto. Stir in a little of that always top tier DGD instrumental musicianship and it’s a recipe for excellence every. damn. time. –Thompson D. Gerhart

mewithoutYou – “Rainbow Signs” (06:04)
Pale Horses
Listen if you like: Listener, La Dispute, In Pieces
Official site

mewithoutYou is often labeled a Christian band, but that doesn’t even come close to sufficiently describing them. I’d say they’re more spiritual than just Christian, which gives them added leverage when it comes to conveying a message. One doesn’t need to be religious to relate to their music, although I’ll admit that it helps. For instance, I’ve never heard the book of Revelations come to life more than I have on Pale Horses‘ closer “Rainbow Signs.” Let’s start with the album’s title (a reference to the apocalypse), which according to the Bible states “I looked, and behold a pale horse: his name was Death..and Hell followed with him.” “Rainbow Signs” – fittingly the album’s final track – illuminates that metaphor, shining irony upon God’s promise to never again flood the Earth (recall the story of Noah, in which the rainbow sign symbolized his promise): “No more water…the H bomb next time?” Near the track’s conclusion, vocalist Aaron Weiss urgently screams “there’s nowhere to hide from the Judge’s face!” With the searing electric guitar riffs burning like hell fire in the background, one would be inclined to believe him. Even if you’re an atheist, the imagery is incredible. Now if you’re religious…that’s when it becomes downright frightening. –SowingSeason

Voices from the Fuselage – “Astral Existence” (04:36)
Odyssey: The Destroyer of Worlds
Listen if you like: TesseracT, 65daysofstatic, Hopesfall
Bandcamp | Soundcloud

Effect-laden, cinematic post-rock with some ever-so-slight djent elements, Odyssey is a brilliantly-mixed, gorgeous listen with its soaring melodies and oscillating transitions between ethereal ambiance and hearty crunch. My favorite passage comes from album opener “Ortus”‘ last verse that segues into “Inner Child”, but vocalist Ashe O’Hara (along with guest vocalists Sally Garozzo, John Mitchell, and Maria Gardner) delivers an alluring performance alongside the robust instrumentation. The electronic flourishes and vocal effects can get a bit irksome in spots, and the artist biographies scattered around online border on obnoxious meta-hubris (for example, take this gem from their Bandcamp: “It’s hard to claim originality in such a vast sea of artists & music, but there is such originality in this music & it is constantly challenging itself to transcend”), but the record’s soothing moments are especially calming. –Jom

Lazer Kitty – “Project Midnight Climax” (04:53)
SPIES
Listen if you like: The Great Oscillator, Dose, the idea of having your own spy theme
Bandcamp | Facebook

Let’s be honest, you’ve long been searching for your own personal spy theme song for when MI-6 call you up to instate you as 009. Well, “Project Midnight Climax” is ready for you to press the oil slick button on your Aston Martin, fire up the jetpack, and take down a seven foot tall man with metal shark teeth. Well, it’s at least ready for the oil slick and the jetpack.

But let’s be honest – when was the last time you heard a real spy theme? When’s the last time you heard 70’s Bond cheese translated into the modern medium and thought to yourself “Yeah! Let me grab the shades and drive!” No, Adele’s “Skyfall” doesn’t count! If you’ve ever wanted to play secret agent man, it’s time to suit up and put this one on – you won’t be disappointed! –Thompson D. Gerhart