While April showers and Tax Day dampened the spirits of those in the Northern Hemisphere, those in the Southern Hemisphere were just beginning to emerge from a long, fiery summer, anticipating the filtered hues of fall. So what better gift to send their northern compatriots than an export from the bright, cheery and aptly-named Sunwrae? A late surge from Saxon Shore threatened to derail the Aussies, but the upstart ensemble stayed the course and shocked the Stateside veterans like the Australia II dethroning the Liberty.

Why is this important? Because a month ago, outside of their native land, Sunwrae was hardly on anyone’s radar. TSB’s international staff kept us informed, and reminded us of the sweet pleasures of unexpected discovery. There are always new favorite bands and new favorite albums out there yearning to make our acquaintance, which is why TSB continues to scour the earth looking for sonic gold.

It’s a calm evening in the forest. Leaves fall gradually from every tree, slowly covering the ground with orange and yellow. Instruments follow suit: a nine-piece chamber ensemble serenely looses sounds that accumulate in layers of sweet, heartfelt expression. Multi-veined, pigment-challenged leaves mingle, leaving a multicolored landscape. A swirling drop of jazz piano flows through a string melody and inks the flute phrases with a powerful, traditional-sounding beauty. The colors change with the lighting as the day goes by; the music paints every style, every influence, in complete, organic harmony. Rachel’s has at least been matched, and may even have been outmatched by this awesome Sydney collective. (David Murietta)

 

After their 10 year jubilee and related vinyl box re-releases, a Seldon Hunt documentary and a whole lot of patience and speculation, Isis astonished fan and foe alike with an album that recapitulated and expanded upon their decade of unique post-metal. Unlike its predecessors, Wavering Radiant revisits the strong points of a strong career, from Celestial to In the Absence of Truth, rather than building on the work of a single album. A more notable place is reserved for haunting vocals, while sturdy bass and subtle, supportive soundscapes (containing Rhodes-like accents) carry the weight of the sometimes uplifting, sometimes destructive guitars. Isis’ eye for detail and the progressive nature of this album makes it their most complete and refined work to date: a standout album in their already impressive catalogue as well as in the progressive post-metal genre itself. (Jurgen Verhasselt)

Saxon Shore were one of the first post-rock bands I really fell in love with, and they have continued to impress with their latest; It Doesn’t Matter is a classic at first listen. They have streamlined the best elements of their various styles, and make more out of less. The average track lasts between 4 and 6 minutes, just long enough to do something interesting without getting boring. Saxon Shore has undergone various line-up changes over the years, yet continues to produce a consistent body of work. Co-founder and former drummer Josh Tillman (“J.” Tillman, Fleet Foxes) may be enjoying increased attention of late, but surprisingly Saxon Shore have only gotten better with each successive new member. Matthew Dory and Matt Stone wield the effects pedal like virtuosos. Oliver Chapoy (a one time member of the hardcore band Shai Halud) makes good use of his background in engineering and composition. For the first time, the group has added vocals to their typically instrumental music, enlisting Temporary Residence Limited’s Caroline on “This Place.” This collaboration may be the most successful incorporation of vocals into an instrumental band I’ve ever heard. I can’t fathom how more people haven’t heard of Saxon Shore, but I guess these songs are destined to be sold as background music for commercials. I’m fine with that, because it apparently subsidizes well-written and produced music such as this. I am now imagining a future in which good artists make up for the decline in physical sales by outsourcing their songs. Incidentally, while I can guess, I’d really like to know what happened in Tokyo at 4:12 a.m. (Joseph Sannicandro)

Berlin electro duo Modeselektor and Apparat have collaborated for a high energy album, one whose sounds range from the emotive and reserved to the hypnotic and sensual. Many of the beats on this album have the power to incite epidemic outbreaks of ERP (Extra-Rhythmic Perception). This “power” seems to feed off coded messages in the beats – messages that may influence listeners to dance, have sex and laugh with abandon. This album is bangin’ – not like Crips ‘n’ Bloods, but like Speedy J’s A Shocking Hobby. Get up for Moderat! (Gabriel Bogart)