-- it moves and morphs like no snapshot ever could. BAND_MEMBERS: Twine is Greg Malcolm and Chad Mossholder  (less)

and leaving, it's a voice that producer Garrett Lee uses as a jumping-off point, dropping fat guitars, electronic noise, and eclectic instrumentation in with Lightbody's breathy, moody depth. The band plays around with wild shifts of texture: "Gleaming Auction" veers in seconds from a relaxed shuffle to a shoegazing crunch, while a blanket of fuzzbox swagger calls forth the ghost of T. Rex on "Tiny Little Fractures." But just when you're ready to throw the record on random shuffle with Electric Warrior or maybe Heaven Tonight , the band lays down a pastoral ballad like "Same." Somehow it holds together beautifully, stuffed with songs that reward repeat listens and ear candy that keeps you full for days. -- Matthew Cooke  (less)

on film frame by frame) and stop-start animation. His meticulousness is much like the band's process of composing and sequencing their music. There's a measured restraint that's rarely employed in modern pop music and it's the precision and restraint in the arrangements that serves to magnify what is there. And what is there is exceptional.  (less)

told from the point of view of a character known as "The Prize Fighter Inferno" a.k.a. Jesse from the story of Coheed and Cambria. Of the 11 songs on the album, we hear a softer side of Sanchez, enveloped in mellow electronic grooves and gentle compositions. Some tracks adopt dance rhythms while others are hypnotizing in melody and verse.  (less)

even a song called "I Hate the Way You Love" (plus a slow version, "I Hate the Way You Love, Pt. 2"). Similarly, VV (Alison Mosshart) sings like a cross between PJ Harvey and Christina Martinez (Boss Hog). And yet, despite lines like, "Get the guns out" ("Love is a Deserter") and "Lost a lot of blood" ("At the Back of the Shell"), No Wow is too catchy to be a bummer (must be "love" asserting its presence). VV and Hotel (Jamie Hince) make their songs move and groove with a minimum of fuss, mostly just some grubby guitar, unobtrusive drum machine, and Suicide-like electronic pulses. Mitchum would surely approve. --Kathleen C. Fennessy  (less)

full length release and Crunch Pod debut; Plague called huMANity. With the unleashing of this new concept album, vocalist Nikki Telladictorian and electronics guru Greg VanEck set and follow their own standards with a truly unique vision. Based loosely on the mythology of Pandora's Box, Plague called huMANity is ProBurn's most ambitious and accessible work to date. Combining remarkably varied elements of industrial, breakcore, and IDM, Plague Called HuMANity has an artistic bloodlust that oozes from every fractured note. Seeping with subtle nods and references to their earliest electro-industrial influences of the 80's and 90's, Plague called huMANity even features their own take on the classic...  (less)

catchy pop and is inspirational without being preachy. Instead of presenting a linear narrative, the book is made up of a succession of vignettes illustrating biblical parables through a hippy prism--making it particularly easy to adapt and update. Directed by Schwartz's son Scott, this touring production (including new lyrics by Schwartz senior) is set in a hi-tech environment and incorporates references to video monitors and computers (which form an electronic crucifix). This revival is sometimes marred by weird arrangements (new orchestrations have been made by Alex Lacamoire)--as with the quasi drum & bass beat on "Tower of Babble" or the metallish guitar licks on "Save the People." Still, the performance presents a...  (less)

with references to forest creatures, it represents more of a change in tools than direction. Longtime associate Dave Fridmann (the 'Lips, Sleater-Kinney) handles the production reins. While all nine selections ebb and flow in volume, like a shortwave radio half-heard in a dream, a few maintain a steadier motorik-meets-disco pulse. Tracks like "Snowflake in a Hot World" and "Runaway Raindrop" could be compared to New Order or the Pet Shop Boys, with a dose of Thoreau. Snowflake Midnight proves that a veteran band can re-write themselves without losing the plot. --Kathleen C. Fennessy  (less)

which they did in 2005). It speaks volumes about their music’s versatility; one minute it’s gummy dub, the next it’s chest-beating, chug-a-lug metal, shredding punk, and bleeped-out electronic psychedelia. At its best, Dub Trio’s music is simultaneously all these and more. Their sophomore album, aptly-titled NEW HEAVY, is undoubtedly a rock record that retains enough dubby elements to save the boys a name-change: "Dub is the foundation. It’s in everything we do, whether it’s the structure, the effects, or the bass line. It’s what all other elements are based on. You hear that even on the heaviest parts of the new record." – Joe Tomino, drummer New Heavy is indeed heavy, and hard. It references Metal...  (less)

modern themes. Featured artists include Gerry Alfred, Robert Mirabal, Quiltman and Joanne Shenandoah, each of whom contribute strong tracks to the set. There are some techno attempts that fall pretty flat, with processed voices of tribal elders (this is supposed to give it a dream effect, I guess) and some hip-hop references that just don't work. But the tranquil beauty of Shenandoah and Quiltman, and the rhythmic groove of Mirabal more than counter the effect. --Louis Gibson  (less)

Moss (aka Hieroglyphic Being, IBM, Jack FM, IAMTHATIAM, The Sun God). Traxx has a number of well respected releases on International Deejay Gigolo, Crème Organization, and now his own label Nation. A record that clearly reflects his spiritual roots and church background as well as pushing forward his visions of Chicago circa 2009 for what he terms "jak beat," which is an extrapolation of old school jack trax into the modern era. Oliphant is certainly no slouch when it comes to spreading the musical love. Traxx has chosen to reference the groundwork laid down by 12-inch releases for Crème Organization, IDG and his own Nation imprint, to offer up eleven previously unreleased cuts of "electronic music for your mind, body and soul." Former ...  (less)

and leaving, it's a voice that producer Garrett Lee uses as a jumping-off point, dropping fat guitars, electronic noise, and eclectic instrumentation in with Lightbody's breathy, moody depth. The band plays around with wild shifts of texture: "Gleaming Auction" veers in seconds from a relaxed shuffle to a shoegazing crunch, while a blanket of fuzzbox swagger calls forth the ghost of T. Rex on "Tiny Little Fractures." But just when you're ready to throw the record on random shuffle with Electric Warrior or maybe Heaven Tonight , the band lays down a pastoral ballad like "Same." Somehow it holds together beautifully, stuffed with songs that reward repeat listens and ear candy that keeps you full for days. -- Matthew Cooke  (less)