Megadeth tap into their thrash roots.
Even with a partly new lineup, Megadeth are back on form on their 15th release Dystopia. The opening riff on “The Threat Is Real” sets the tone for the rest of the album, laden with complex riffs, hard stops, outrageous solos and aggressive lyrics. It’s not Rust In Peace, but it’s pretty damn close –Michelle Solomon
DJDS find their voice.
LA DJs Samo Sound Boy and Jerome LOL united as DJDS to explore new sonic and emotional territory in dance music. New album Stand Up and Speak imbues house and electronica with a homegrown craftsmanship, whether on the accessible title track or the majestic “You Don’t Have to Be Alone,” repeating the title like a mantra. –Party Ben
INDIE SUB OF THE WEEK
A psychedelic, stoner-sludge covenant…
Dual bass playing San Francisco power trio Pale Rider ride slow and low (for the most part) on The Cosmic Trigger: Pt. II, delivering a dense, lysergic heaviness that wreathes lumbering downer doom in an abstract, effects-heavy fug, while occasionally bursting into psychedelic, cosmic-kraut style hypno-rock.. –Andee Connors
Acting Like Herself
The majority of This Is Acting, Sia’s new collection of uplifting pop anthems, was originally written by the singer-songwriter to be performed by other artists. It won’t take long to notice why the famed collaborator — who has penned hits for Beyoncé, Rihanna and more – doesn’t need another star to make these songs shine. –Jordan Davidoff
All In The Family
The similarity of Aubrie Sellers’ voice to her mother’s is undeniable. New City Blues is uniquely Sellers – but also influenced by her family: Lee Ann Womack, singer/songwriter Jason Sellers and her stepfather/producer for Miranda Lambert, Frank Liddell. Fans of Kacey Musgraves and Lambert will appreciate the brutal truth of this newcomer’s addition to the country canon. –Rachel Whitney
Idan Raichel goes back to basics.
Listeners may be familiar with The Idan Raichel Project, Mr. Raichel’s excellent project where he bridges cultural divides by collaborating with Israeli, Arab and African musicians. On At The Edge Of The Beginning, he returns as a (nearly) solo act, giving us beautiful piano driven songs ranging from meditative to upbeat, but always introspective. –Diego Gonzalez
A Mellow Punk Dream
After announcing an indefinite hiatus several years ago, Basement have returned and we couldn’t be more excited. “Oversized” is angsty, melodic, power punk at its absolute best. This single flawlessly mixes tempos while vocals stay soothing and calm. Fans of Jimmy Eat World and Failure, be forewarned – you may have just found your new favorite band. –Crystal Lowe
Archival BBC Sessions from this indie troubadour.
Pond Scum finds Will Oldham, aka Bonnie ‘Prince’ Billy, reworking a selection of previously released tracks into hushed, intimate, sonically stripped down threnodies. Oldham’s distinctive, about-to-crack warble serves his songs with an aching, heartfelt emotion. It’s a bounty of beautifully recorded ballads, including a stunningly reimagined cover of Prince’s 1987 song “The Cross.” –Andee Connors
The “indie mom of comedy” keeps it real (maybe even too real for some) on her latest release. The BET veteran and mother of three takes time out to explain SAT words to the audience, lay out her personal philosophy (#TightIntheWaistCuteIntheFace), and even name-checks Dolly Parton as she keeps the crowd breathless with laughter. –Kelly Anneken
I’m happy, you’re happy.
Dominican producer, Hector Mendoza, aka Happy Colors, doesn’t make merengue or bachata. After numerous remixes, collaborations and guest appearances, he offers up El Negrito Happy. This nasty bass beat-down intersects genres, going from fast to slow to fast, to boom-bap to dembow to mambo, all within the comfort of the same track. It’s really good. –Marcos Juarez