Panda Bear
“No Mans Land”
For whatever reason, Animal Collective always deliver really solid EPs. There was Grass, Water Curses (still my favorite Animal Collective release), Fall Be Kind and now Panda Bear’s got his own EP Crosswords, which does more than enough to continue the streak of quality extended players. “No Mans Land” is one of the standouts, sound like Paul Simon on salvia singing over some nasty techno riff. Pretty awesome. The other four tracks on the EP are all very good, begging the question, Why didn’t we get to hear these on Grim Reaper? The four new originals are easily better than tracks like “Lonely Wanderer” or “Tropic of Cancer”, which I though weighed down what was already a pretty hazy slog of an album. No bother though, this track and accompanying EP are killer, Panda Bear’s most solid release since Person Pitch.—Casey Hardmeyer

Shigeto
“Pulse”
Shigeto’s percussion heavy production has never sounded this atmospheric. Thanks to the stuttering vocal sample and the eerie keyboards floating around in the background, it’s easy to get lost in the haze. Those clear and clanking chimes hold down the song wonderfully, grounding it when the track could so easily dissipate into mist. It also absolutely deserves the seven minute run time as Shigeto adds layer after layer. The effects are subtle, but by the time a shimmering hi-hat comes in over a trap like snare at the half-way mark, it feels like Shigeto sliced two songs together perfectly. It’s an uneasy, but danceable, bliss.—Nathan Stevens

Murder By Death
“Send Me Home”
As with many of Murder By Death’s numbers, “Send Me Home” unfurls with a rich, cinematic ambience. Opening with the fleeting organ notes of a church hymnal, it’s soon augmented by Adam Turla’s dusty baritone and a strummed guitar seeming to emanate from a southwestern desert. Sarah Balliet’s mournful cello then winds its way in, amplifying the pathos as Turla assumes the guise of a terminally ill man pleading for a merciful death. It can be an uncomfortable listen, the song masterfully putting you in the positions of both the narrator and the person he’s addressing, leaving you to wonder what you would do in either’s shoes. Musically and lyrically, there is a shiver-inducing synergy.—Cole Waterman

Gary Clark Jr.
“The Healing”
What is this? A new single that rocks? Rare as unicorn teeth, but here it is. He throws everything in: portentous guitars, impassioned backing vocals, super orchestral splashes thrown around for kicks. Essentially it’s a track about itself and music in general, the “healing” in the song being the healing of “The Healing”. The theme saves the day because lyrically “The Healing” is not that interesting. The only thing better than a song about itself is a song where the singer references himself in a “Move over, Rover / Let Jimi take over” type manoeuvre. Word of advice for young Gary, there can never be an excess of rock. No-one has ever earnestly complained, “This song rocks too much.” So feel free to cut loose. The end of the track could have benefited from just that.—Paul Duffus

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Speedy Ortiz
“Raising the Skate”
From the outset, the song rumbles and pummels its way forth, unrelenting as a steamroller. Over sidewinding guitars and a bass that vibrates menacingly, vocalist Sadie Dupuis sings with the fierceness of being on the verge of starting a one-person insurrection. The confidence she exudes could cause one to cower before her or fall behind her in her mission. Come the bridge, the riot dies down for a respite, the guitar strings flickering and Dupuis’ voice shifting to a serpentine whisper. When the resurgence happens in more calamitous fashion and Dupuis again snarls, “I’m not bossy / I’m the boss”, any lingering doubt regarding her sincerity is incinerated.—Cole Waterman