While you spent your summer traveling the country, working an internship or just sleeping in, a lot of music came out.
The Daily's Joshua Boydston and Matt Carney catalog the releases your ears may have missed:

 

Arcade Fire
“The Suburbs”
Merge Records
Released: Aug. 2
Rating: 9/10

Arcade Fire packed just more than an hour of songs into its third and longest album, “The Suburbs,” which finds the band reaching to new heights electronically. Each one is topically obsessed with a youth spent driving around mini-malls and flash-built housing — literally the suburbs — though singer Win Butler is specifically detailing his and brother/bandmate Will’s childhood in The Woodlands, Texas, just outside of Houston. The band achieves a lyrical beauty teasing hipsters on “Rococo” and a certain punky swagger in “Month of May,” but it’s the electro tracks that really stand out. Arcade Fire is solidifying itself as a huge live act, a la U2. Regine Chassagne’s voice enthralls in “Sprawl II (Mountains Beyond Mountains),” practically stealing the whole show as Win drives us through a wasteland of American splendor at the album’s end. “The Suburbs” may not be this summer’s best album, but you’d be hard-pressed to find one that’ll wrench your heart as hard.

-MC

 

Ariel Pink’s Haunted Graffiti
“Before Today”
4AD
Released: June 8
8.6/10

Grungy and catchy don’t often hold hands, but Ariel Pink (Ariel Marcus Rosenberg) somehow found a way for the two to get along midway through “Before Today,” his seventh record under the Haunted Graffiti moniker. “Beverly Kills” and “Butt-House Blondies” go back-to-back and they couldn’t be any more different — the former with its splotchy bass lines, swirling synths and falsetto chorus and the latter driven by Nirvana-like guitar riffs. Put short, the lo-fi savant put out the best record he’s ever made, ranging across dozens of genres while maintaining that intimate bedroom recording sound.

-MC

 

Best Coast
“Crazy For You”
Mexican Summer
Released: July 27
Rating: 8.7/10

The proper debut from Bethany Cosentino and friends delivered on all the hype the trio had been riding since SXSW. “Crazy For You” is loaded with hazy beach anthems (“Boyfriend”) and plucky bedroom musings (“Goodbye”). The album is a pure lo-fi, sunny treat with simple constructions and potent lyrics, sold by the driving force that is Best Coast’s leading lady. “Crazy For You” is a sun-baked beauty, delivering a cohesive sound with just enough variation in pace, rhythm and emotion to keep you on your toes.

-JB

 

Big K.R.I.T.
“K.R.I.T. Wuz Here”
Self-released
Released: May 27
Rating: 7.9/10

Southern rap may have it’s next big star in Big K.R.I.T. Self-released for free online in May, “K.R.I.T. Wuz Here” demonstrates an impressive range of influences from lead single anthems like “Country Sh*t” and “Just Touched Down” to a mean impression of stripped-down T.I. on “As Small As A Giant” and plenty of soul samples throughout. It’s no surprise that Def Jam signed him shortly after the album was released. K.R.I.T. demonstrates a certain restraint on sparse, chiming tracks like “I Gotta Stay” but plenty of blown-up swagger where it’s needed (“See Me On Top”).

-MC

 

The Black Keys
“Brothers”
Nonesuch Records
Released: May 18
Rating: 8.3/10

Sure, blues-rock is a little dated, but that couldn’t prevent Dan Auerbach and Patrick Carney from whipping up a quality summer rock album. Honestly, those first four tracks alone were worth whatever you paid for it. Recorded at the infamous Muscle Shoals Sound Studio in Alabama, “Brothers” seethes with down-home organ creeps, lyrics about evil women and Auerbach’s voice that always sounds like it’s on the verge of desperation. It’s the pair’s best release since 2004’s “Rubber Factory” and boasts the best singles they’ve ever recorded in “Tighten Up” and “Next Girl.”

-MC

 

Blitzen Trapper
“Destroyer of the Void”
Sub Pop Records
Released: June 8
Rating: 7.9/10

Portland, Ore.,-based Blitzen Trapper has always been into the fantastical and grand elements of music — we just all forgot about that in the wake of 2008’s brilliant, folkier “Furr." The eponymous “Destroyer of the Void” is the lead track on the album and it’s a doozy. At 6 1/4 minutes, it surfs through all the band’s influential genres (country rock, classic rock, folk lyrics and even some crazy sci-fi prog), leaving the listener pretty overwhelmed. Most of the other tracks are mild and forgettable in comparison, with the exception of the piano ballad “Heaven and Earth,” laden rich with Eric Earley’s voice that popularized the first-person songs on “Furr” in the first place.

-MC

 

Big Boi
“Sir Lucious Left Foot: The Son of Chico Dusty”
Def Jam Recordings
Released: July 6
Rating: 9/10

Best rap album of the summer? It’s a no-brainer in Big Boi’s favor. Long in the making, “Sir Lucious” was hampered by a recording company spat that limited OutKast bro André 3000’s involvement in the album (and essentially killed a terrific early Internet release “Royal Flush”). No matter. Big Boi surrounded himself with plenty of quality contributors —most noticeably growly rapper Gucci Mane and supernova singer Janelle Monáe — resulting in solid singles and a cohesive gem of a record dripping with ’80s synths. Best album name of all-time? Has to be.

-MC

 

The Books
“The Way Out”
Temporary Residence Ltd.
Released: July 20
Rating: 7.6/10

Combined, folk and electronic sure make a nice-sounding portmanteau: folktronica. The Books actually make it more than just nice-sounding. Its fourth studio record revealed the band at its most frenetic, interlocking angry banter between foulmouthed children with a beat that could’ve been created by a hyperactive woodpecker on “A Cold Freezin’ Night.” “Beautiful People” starts with a chopped and screwed chorus before revealing beautifully chosen lyrics that sync nicely with looped background singing and strings. The duo is excellent at casting a specific mood using only their laptops.

-MC

 

Danger Mouse and Sparklehorse
“Dark Night of the Soul”
Self-released
Released: July 12
7.9/10

Influential alternative musician Mark Linkous (best known as the constant member of Sparklehorse) killed himself in March outside of a friend’s Knoxville, Tenn., home. Before that, he’d been working with the ever-ubiquitous Danger Mouse (Brian Burton, also known as Gnarls Barkley’s beatmaster genius) on a multi-collaborative effort that included an all-star cast of indie names. Frank Black, Iggy Pop, Julian Casablancas, James Mercer and The Flaming Lips all appear on “Dark Night of the Soul,” lending more than just their pipes. Casablancas’s “Little Girl” has all the character of a B-side from The Strokes, swirling with Linkous’s brooding, manic mood around it. Wayne Coyne offers his voice on “Revenge,” a track that could belong midway through the Lips’ “Embryonic” and James Mercer’s indie croon is out of place but lovely in “Insane Lullaby.”

-MC

 

Dead Weather
“Sea of Cowards”
Third Man/Warner Bros.
Released: May 7
Rating: 6.3/10

“Sea of Cowards” got lost in the shuffle of the summer music season, for good reason. Jack White takes a more prominent role this go-around, which leaves Alison Mosshart feeling out of place, apparently. White’s moments steam along like a freight train (with some seriously vicious lines in “Blue Blood Blues”), while Mosshart’s recoil ensures the group loses all the momentum it had going. When the duo faces off with each other — like in the gutsy “Die By The Drop” — “Sea of Cowards” really roars, but they seem all too preoccupied with simply hissing at each other.

-JB

 

Dirty Projectors + Björk
“Mount Wittenberg Orca (EP)”
Self-released
Released: June 30
Rating: 8.1/10

Norman Music Festival 3 headliners Dirty Projectors wowed and stunned the many NMF attendees who stuck around late Sunday night to hear the band’s otherworldly vocal harmonies. Add renowned Icelandic-weirdo Björk and lyrics about watching whales and you’ve got a pretty damn bizarre and intriguing record with some crazy harmony work. “Beautiful Mother” is driven by singer Dave Longstreth’s breathing and speedy string work, and accented by the trio of female singers’ harmonic spurts that give it a very traditional, Nordic sound. Björk contributes most notably on “Sharing Orb,” singing as the women behind her provide backing “eeehs," “ooohs” and “aaahs” that crash like cymbals.

-MC

 

Drake
“Thank Me Later”
Cash Money /Universal
Released: June 15
Rating: 7.7/10

Championed by indie bloggers and radio DJs alike, Drake finally pulled the trigger on his long-awaited full-length debut. Largely, it doesn’t disappoint, fulfilling most of the promise early efforts had indicated. Loaded with a host of long-winded narratives, “Thank Me Later” dips between poetic and awkward. Drake’s heartfelt, honest verses sometimes hinge on being too literal, but his storytelling is mostly charming and especially poignant in tracks like “Fireworks.” And when the lyrics connect … it’s a hit.

-JB

 

The Drums
“The Drums”
Downtown Records
Released: June 8
Rating: 8.6/10

No buzz band quite likes the ’80s as much The Drums do. A lot of indie groups’ influences include Joy Division, The Smiths and The Cure. The Drums are the only ones to take all three and add in A-Ha. The Brooklyn quartet pulled off a slew of New Wave-inspired singles in its self-titled debut, a stunning freshman effort. Simply put, “Let’s Go Surfing,” “Forever and Ever Amen” and “Skippin’ Town” are damn-catchy pop tunes perfect for beach hopping and road tripping.

-JB

 

Freddie Gibbs
“Str8 Killa No Filla”
Decon Records
Released: Aug. 3
Rating: 7.3/10

Another young rapper with Internet savvy, Freddie Gibbs has now released a pair of EPs online, building a decent Web following that will no doubt pay off whenever he formally releases his first record. “Str8 Killa No Filla” doesn’t really sound like a garage rapper’s mixtape — Gibbs creates music with the idea of a wide-blown feel of anthemic rap performance. It’s easy to imagine hundreds of fans’ hands waving back and forth in rhythm to the chorus “In My Hood." As far as lyrical talent and delivery go, Gibbs is far from the best, but that’s to be expected from a guy as young as he is.

-MC

 

The Hold Steady
“Heaven is Whenever”
Vagrant Records
Released: May 4
Rating: 7.4/10

“Heaven is Whenever” is a pretty decent album until the seventh track, “Hurricane J,” comes on. After its nearly three minutes of classic rock nostalgia and message of selfless love, “Heaven is Whenever” reverts back to so-so status, prompting the listener to scroll through his or her iPod back to 2006’s transcendent “Boys and Girls in America." The Hold Steady is absolutely terrific live and a few tracks off “Heaven is Whenever” (“A Slight Discomfort,” “The Weekenders,” “Rock and Roll Problems”) all proved excellent fodder for its Oklahoma City summer show at the Diamond Ballroom. Unfortunately, they just don’t cohere together to tell their best stories: funny, druggy anecdotes and tales of epic parties that define them as a band.

-MC

 

Janelle Monaé
“The ArchAndroid”
Bad Boy/Wondaland
Released: May 17
Rating: 9.5/10

Janelle Monaé is one funky piece of work, and her newest release is nothing short of brilliant. The genre-bending, style-shifting and groove-inspiring “The ArchAndroid” delves into every fanciful whim and fascination, but maintains an admirable balance of experimentation and crowd-pleasing melodies that culminate in the song of the year: “Tightrope.” Beyoncé should be jealous of the soulful ballads Monaé pulls out of her carefully tailored sleeve, and hopefully more and more people start to pay attention to this superstar in the making.

-JB

 

The Morning Benders
“Big Echo”
Rough Trade
Released: June 28
Rating: 8/10

There’s obvious beach music, then there’s the sophisticated, studied kind. Instead of Beach Boy surfing hooks or sun bathing acoustic ditties, The Morning Benders opt for the bon fire approach — a meaningful, purposeful and beautiful base built on innovative progressions and gentle shore washes of acoustic strums. The glowing “Promises” pulls it together tightest, though the flame holds steady all the way through.

-JB

 

The Love Language
“Libraries”
Merge Records
Released: July 20
Rating: 7.2/10

Sunny day records were few and far between this summer (Best Coast’s “Crazy for You” edges “Libraries” just because of the artwork), but for those looking for a good indie pop record to spin at the beach for a special someone, you’d have been well-served by “Libraries." Stuart McLamb’s vocals are so upbeat, you’d think he’d never been dumped in his life, but the lyrics in “Heart to Tell” suggest otherwise: “You can walk all over me, just don’t you walk away,” he sings.

-MC

 

M.I.A.
“Maya”
XL/Interscope
Released: July 13
Rating: 7.4/10

There’s nothing about “Maya” that doesn’t scream confrontation. It’s confronting her newly minted pop-star status, her politically charged routes and her questioned authenticity and credibility. It’s purposefully dysfunctional and riotous in a way that makes “Arular” sound like Raffi. Ironically, she’s at her most accessible in tracks like “Xxxo” and “It Takes A Muscle,” which, fittingly enough, only add to the confusion in true M.I.A. style.

-JB

 

Magic Kids
“Memphis”
True Panther Sounds
Release: Aug. 23
Rating: 7.7/10

About as sweet and satisfying as a lollipop after a doctor’s visit, “Memphis” is sugary, wholesome pop goodness. The opening trio of “Phone Song,” “Candy” (wait a minute …) and “Superball” stop just short of causing a cavity with their collective syrupy serenades and aw-shucks guitar strums. “Memphis” falls prey to a mid-album lull, but the boyish charm of “Good To Be” and “Skateland” keeps the album afloat and in line to become the soundtrack to summer camp love.

-JB

 

Male Bonding
“Nothing Hurts”
Sub Pop Records
Released: May 10
Rating: 9.4/10

If Metallica was out to impress Pitchfork, it would come off something like this. The hyped, aggressive guitar riffs are just subdued and centered enough to form a core of something truly groundbreaking: indie pop metal. Well, it’s more Sonic Youth on Red Bull than anything, but the hyperactive reverb is surprisingly accessible, as seen in the impeccable “All Things This Way” and “Crooked Scene.” Most impressive is the slow-building, ska-influenced “Nothing Used to Hurt” that almost makes skanking seem reasonable.

-JB

 

The National
“High Violet”
4AD
Released: May 11
Rating: 9.7/10

The National hasn’t released a bad album, and “High Violet” might be its greatest one yet. Smart, driven and ambitious, The National crafts tasteful, sorrowful melodies that dodge self-pity, landing firmly in thoughtful introspection instead. Matt Berninger is quickly becoming the lyricist of the generation, and his words have newfound poignancy in this time of national struggle. “Afraid of Everyone” and “Sorrow” dig for deeper meaning; “Bloodbuzz Ohio” finds it.

-JB

 

Ratatat
“LP4”
XL Recordings
Released: June 8
Rating: 5.8/10

“LP4” isn’t so much a new album as much as it is warmed-up leftovers from NYC duo’s celebrated “LP3.” That doesn’t make it all bad. I mean, how unpleasant could the scraps from a stellar record really be? Ratatat would have done well to take its already distinctive brand of electro-rock and pushed it forward, but instead added a few new ingredients and called it a day. The dark “Bilar” and hazy, signature “Drugs” save the dish though.

-JB

 

Robyn
“Body Talk Pt. I”
Konichiwa Records
Released: June 14
Rating: 8/10

Few invested much in Robyn’s April claim to release three records before the end of 2010. Now, with “Body Talk Pt. II” leaked to the Internet, the real question is which of the three “Body Talk” records will prove the best? My money’s on “Pt. I” which is a pretty awesome display of electro-pop from the Swedish dance specialist. “Fembot” hypnotizes the listener and builds into the irresistible “Dancing on My Own” with its girls’ night lyrics about “stilettos and broken bottles." “Cry When You Get Older” expands with its synthesizers to fill larger proportions and even exposits some clever lyrical work as she shares what her “mama never told her." Lady Gaga’s going to have to expand her game and write some more songs like Robyn if she wants to stay at the top.

-MC

 

Tame Impala
“InnerSpeaker”
Modular Recordings
Released: May 21
Rating: 8.4/10

No one matched Tame Impala in terms of engaging the listener this summer. “InnerSpeaker” — in its trippy, intoxicating reverb — created a distorted soundscape that changes with every listen and fills in every pore it’s exposed to. It’s the sound of MGMT slugging down a bottle of cough syrup, popping a Valium and getting down to work. It’s oddly romantic … maybe that’s just the drugs talking.

-JB

 

Tokyo Police Club
“Champ”
Mom & Pop
Released: June 8
Rating: 8.8/10

With Weezer seemingly more focused on WTF antics like placing “Lost” characters on its album covers and giving records terrible titles like “Ratitude” than crafting genuinely enticing power pop, Tokyo Police Club quickly made its way toward the nerd rock throne with a blissfully simple disc anyone can appreciate. The quirky charm of Dave Monks’ lyrics and vocal delivery finds its way onto straightforward tracks like “Wait Up (Breakneck Speed)” and innovative gems like “Bambi” that are never not catchy.

-JB

 

Various Artists
“Eclipse Original Soundtrack”
Chop Shop/Atlantic
Released: May 25
Rating: 6.3/10

“Twilight” soundtrack releases have, oddly enough, become something that indie kids and hipsters salivate over, what with their inclusion of big names like Beck and Thom Yorke. But “Eclipse” is a bit of a let down from “New Moon.” The names are just as big, but don’t produce as well. Some of the bands’ tracks are overwrought (Muse), lazy (Band of Horses), awkward (Vampire Weekend) and just boring (The Dead Weather). There are some highlights (Beck and Bat For Lashes, Cee Lo Green, Sia and Florence + The Machine), but the album is disjointed, messy … and oddly enjoyable.

-JB

 

Wavves
“King of the Beach”
Fat Possum Records
Released: July 13
Rating: 9.3/10

“King of the Beach” is a complete reinvention. “Wavvves” was a harsh, fuzzy affair, while Nathan Williams’ junior effort is, brace yourself, the pop album of the summer. Critics claimed it sounds like “Dookie” or “Enema of the State,” and it sort of does, but that simplifies what he’s done with this jewel of a release. It’s pop punk meets lo-fi meets surf rock meets psychedelic electro. Songs like “Post Acid” and “Idiot” are too fun not to enjoy, and his high risk album is ultimately greeted with a high reward.

-JB

 

 

 

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