And you can tell these guys are not afraid to experiment with the genre. (Having the freedom of calling yourself “post”-anything really just lets you throw rules out the window and do whatever you feel like.) They’re also clearly comfortable in the studio now.

The record’s production is incredibly punk — everything is clear, so it’s not a grungy punk sound — but nothing is overly produced. It just sounds like a bunch of guys hanging out in a good-sounding garage, playing a few lo-fi punk songs. When they pull back on the punk, they get chilled. And when they go back to the punk, they throw out the established raw power chords of the genre and replace with them with fresh ideas and new takes on a crowded scene.

And that’s exactly what’s so charming about Ought. Unlike a group like Royal Headache, who are putting the punk back in punk rock, these guys are going for a laid-back approach. This is by no means a quiet record, or one that lacks any power. But it strips the raw power and rules away from the music and adds a sense of intimacy, all without losing a sense of where punk came from.

Another great reason to love Canadian music.

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Battles is a band you either love or hate. And La Di Da Di probably won’t change your mind about this all-American avant-garde band, but I hope it will (if you aren’t into them). Unlike their first and second albums, which at least featured vocalists in some fashion, La Di Da Di is completely vocal-less. And I don’t think it matters.

Battles has pulled off what a lot of people, including myself, probably largely thought was impossible: make an instrumental rock record that sounds interesting. Loaded with effects, keyboards, big riffs, and incredibly intricate layering work, La Di Da Di is an effort you should not miss.

Each member of Battles comes from other prestigious groups, the most recognizable of which is probably Helmet. This is far better than any of their previous records. Long-time fans will tell you that Battles is “struggling” without a vocalist; I believe they’re just hitting their prime as songwriters and musicians.

La Di Da Di is a keeper.

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With High, Royal Headache have surpassed all odds to deliver one of the year’s best records. As far as 2015 garage rock or punk goes, you’ll be hard-pressed to find something better. It’s a head-banging, foot-stomping, air-drumming sort of record. Put it on repeat.

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While I wouldn’t recommend Hauschildt’s record for those of us who are in need of a cup of coffee, I would recommend it as excellent background music for your cup of coffee. Or your Sunday reading. Or your Monday to Friday work schedule. Or even to fall asleep to. Hauschildt’s imaginative record deserves to be embedded in your skull as often as possible.

The post Steve Hauschildt: Where All Is Fled appeared first on Unsung Sundays.

Fans of Holter will find her a little more laid-back here, less rollicking and rock ’n’ rolling and more reflective. Her voice suits this perfectly.

The icing on the cake is the production, which is densely layered and full of subtle intricacies. On my fifth listen, I was noticing things I hadn’t heard before. Holter’s voice is distracting as anything, like a more authentic Enya, so sometimes it’s difficult to even notice the rest of the experience supporting her. But everything about this record is top notch.

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