If you ever wondered what laptop prog might sound like, wonder no more. The Agony Column not only fuses indie rock, modern electronics and a certain very 70s sound almost seamlessly, the band goes one better: This is a classic rock-style double album.

Virtuosic runs, poppy hooks and a vaguely snotty attitude permeate. If you aren't in the mood for a band that takes just about everything to eleven, well, go somewhere else. I'll wait.

Okay, then. The sound is where the indie sensibilities come through the strongest. There's almost no bombast at all in the production--the band saves that for the songs and their arrangements. Oh, and the 28 (!!!) songs that make up this release.

There isn't another band out there like Agony Family. No one is crazy enough. And few have the chops, either. When the hooks clip in, these songs are tight little gems. And when the guitar and keyboards roam a bit, well, the album begins to take on an epochal feel. Wonderful.

Contact:
theagonyfamily.com

I've been through Williston, N.C., dozens of times. It's on the route my family would often take from our place in Durham to the in-laws over in Camden. I know that part of the state, and I'm familiar with many of the musicians who come from those parts. KaiL Baxley has risen above.

These punchy folk-blues-gospel anthems mix Baxley's plaintive wail with a thick, yet peppy, rhythm section. The results aren't just infectious. There's no defense against music of this magnitude.

The songs themselves are pretty basic. But the arrangements on these EPs are stunning. The sound could have been backwoodsy, or maybe stripped-down folk, but Baxley created a sense of latent power instead.

This music is best appreciated loud. Baxley imbued his pieces with a stealthy strength, one that hits up front and on the back end as well. Don't miss.

Contact:
www.kailbaxley.com

Slowly but surely, the D.C.-based Empresarios are making a name up and down the coast. The band's brand of Latin, R&B and funk fusion sounds comes together naturally. And the fact that these boys sing in Spanish certainly doesn't hurt.

The polyglot nature of the sound is slinky, but rarely smooth. These are songs for moving. Even if you think you can't dance, I bet you'll be itching to shake your butt after hearing a song or two.

The sound is just shiny enough to bring a general brightness. But I like the way the low end creates a lugubrious friction with the floor. It's almost as if the bass lines are rumbling across the floor on their own.

Maybe they are. What I do know is that there's really no way to put this album down. Once it's coming out of the speakers, it's gonna stick around for a while. Yeah, I'm giving a shout out for some D.C. homeboys, but they deserve it. First rate, and then some.

Contact:
fortknoxrecordings.com

Here's a nice bit of ear candy. Fires leavens the ubiquitous My Chemical Romance post-emo style with some geeky math lines in the guitars. Nothing particularly original, mind you. Just exceptionally well-executed.

The songs are scorching at high volume, and the writing is strong enough to be appreciated in somewhat more sedate surroundings as well. In particular, the title track plays like something Jawbox might be playing these days (if Jawbox was playing these days, of course).

Yeah, yeah, I know. This is tricked-out and commercial. Sue me. My ears lapped it up, and then requested a repeat or few. I haven't burned out yet, so perhaps there might even be some staying power. That would really be something.

Contact:
www.firesmusic.com

I'm starting to think this is a trend. Back when I started A&A, there were dozens (if not hundreds) of bands that played a certain style of lovely raucous, noisy and intricate post-punk. Touch and Go was the center of this universe, of course, and bands like the Jesus Lizard and June of 44 epitomized the sound. Then they all went away.

But I've been hearing more and more of it in the past couple of years, and Jowls is one of best "modern" bands blasting its way through this sound. The vocals are absolutely shredded, the guitars operate as much on feedback as chords and the rhythm section resembles a perpetual motion machine. Just as it should be.

These boys are from Grand Rapids, so they even fit the old style geographically. This stuff is almost perfect. I'm thinking next time there ought to be a full-length, right?

Contact:
tinyengines.limitedrun.com

The term "modern rock" is hopelessly antiquated, but it fits the Longwalls perfectly. These boys combine a jaunty indie rock sensibility with rooty arrangements and an often heavy hand in the production booth. These songs soar and crash with astonishing grace.

Dour or bouncy, the pieces here sing with a sure voice. The Longwalls haven't quite created a definitive sound, but the songwriting is distinctive. The goal seems to be to cram as much as possible into extremely small spaces.

And all with a relatively sparse sound. Oh, the reverb can really shudder at times, and there are a few feedback squalls as well. Mostly, though, there's plenty of room for the divergent lines to roam and coalesce.

Best not to anticipate what comes next. The Longwalls will surprise no matter the expectation. An accomplished set, one that deserves plenty of attention. Pick any song, and you will be pulled in. The power is unmistakable.

Contact:
staticmotor.com

Some folks from Austin who never quite gave up on the whole post-rock dream. These rambling pieces rumble through some truly gorgeous territory before finally pulling into the station.

So. Lots of strings (guitar, bass, fiddle/violin, etc.), needle-pinning engineering and an epochal sense of scope. Kinda like Dirty Three on steroids. Except, of course, not.

It's not fair to compare My Education to anyone else. Few bands are ambitious enough to try their hands at songs this intricate and far-reaching. Each piece tells a story, and most of the time the plot has risen and fallen at least a couple of times before the end of the song. Some of the longer songs are more like five-acts.

A bit exhausting, but utterly thrilling as well. This album teases out of the gate, but the short introduction hardly gives notice of what is to come. The album itself moves with sure feet, and the ideas are nothing short of miraculous. Thunderously lovely.

Contact:
hautemagie.com

Ash Reiter takes the whole rootsy 60s pop thing (y'know, She & Him, etc.) and then spins even more confection. The scratchy instrumention only serves to endear more.

The songs themselves ramble a bit; they would have never passed muster at the Brill Building. But that's okay. The languid feel to the hooks allows Reiter to put her own stamp on the sound.

And when she feels like it, Reiter does tighten the ship. She never quite hits the bliss button, but I think that's intentional. The pop elements here are simply tools and not ends within themselves.

Which leaves a more complex album than might seem on the surface. Reiter would be well-served to sharpen her writing craft just a bit, but she should never lose her off-handed feel. Quite the pretty scene.

Contact:
ashreiter.com

American music from around the world. Frederico Geib gave up his native Brazil for the drier climes of Austin, and he's collected a wide-ranging ensemble. The sound is one that could only be made in America, because such a melange makes the most sense on these shores.

There are plenty of Latin and (specifically) Brazilian themes, but it's not too hard to hear east African notes in the guirar, straight-ahead rock and roll and even disco from time to time.

Rock is such a mongrel that it pretty much accepts any contribution to the canon. The only key is making sure the groove is locked in. Suns of Orpheus employ a drummer and a percussionist, which complicates this task. Nonetheless, the band never seems to lose focus. The music is always served first.

I gave up trying to identify influences early on. What is apparent is that the band is comfortable and confident, no matter what burbles into the mix. There's not much in the way of shifting gears; ideas simply come and go. Roll with the punches, and this album should insinuate its way into your heart in no time flat.

Contact:
www.sunsoforpheus.com

The second album of 2012 from this Memphis outfit, and things are humming along smoothly. More sludgy garage stuff, with occasional bursts of prog. This album is sequenced somewhat the opposite as Myth Is This, which opened up with more conceptual pieces that faded into more standard bits. This time out, it takes a few songs for the wiggy side of the band to take flight.

Ah, but it does. "Get the Picture" (track five) heads right into Love and Rockets-ian psychedelia, and the next track ("Be the Indian") rolls into a nice Zombies/13th Floor Elevators groove. The album continues apace.

What I like about these folks is that that apart from an almost-crippling addiction to fuzz, these folks pretty much play what they like. The sound is consistent, but the songs come from all directions. And that consistent sound? The fuzz bombs and heavy reverb in the vocals are distinctive and incredibly inviting.

This album doesn't quite kick into overdrive, but I don't think that was in Tiger High's plans. I believe the idea was to crank out another set of solid sounds and lay more groundwork for world domination. Chalk it up as a complete success.

Contact:
trashycreatures.com

Jessie Murphy writes great sing-alongs. There's plenty of unison as well as harmony in the choruses. In any case, the melodies are so infectious you'll be joining in within minutes.

Jaunty folk-rock will do that for you. Plenty of folks will lump this in the americana bin, but We Are the Woods follows modern folk traditions quite clearly.

And quite well, too. The production stays out of the way, allowing Murphy and her mates plenty of room. The songs stand up nicely in the breach. There's really no need to dress them up.

A lot of fun. I suppose Murphy and company could muddy up the waters and wander closer to traditional singer-songwriter and americana territory, but I hope not. I like the way these songs roll.

Contact:
www.wearethewoods.us

Take all the kitchy soul of the late 70s and then modulate as desired. Renny Wilson used to go by the moniker Sugarglider, but he's decided to go by his (apparent) real name these days. And hey, Sugarglider is an awesome name for an album, as well as an apt description of the music.

Slinky beats, keyboard-driven melodies and modestly-arranged harmonies. Kinda like if the Flaming Lips were channeling Hall and Oates rather than Dennis Wilson's inner demons. These songs sound so pleasant until you actually pay attention. Then they get just a wee bit frightening.

For starters, the melodies and beats aren't entirely constant. Wilson trips the speed and pitch from time to time, just enough to induce a short bout of queasiness. I like that spot of discomfort. It pulls me in.

Music that gets stranger the more I listen to it. Which is exactly as it should be. In another month or two, I might be declaring true love.

Contact:
us.myspace.com/mintyfreshrecords

Tyler Daniel Bean Longing. (self-released)
Folky indie pop songs that tend to end up as emo-ish screamers. I do wish Bean would vary the formula more than he does, but he sure does have the concept down cold. The execution is phenomenal.
Contact: tylerdanielbean.bandcamp.com

Barry Brusseau The Royal Ancient Birds (self-released)
After doing time with the Jimmies and Legend of Dutch Savage, Barry Brusseau took a step towards the meditative. The production is exceptionally lo-fi (think Capstan Shafts) and the songs themselves take their time to unfold. Brusseau's voice carries these fine songs quite well. Quite distinctive.
Contact: www.barrybrusseau.com

Nels Cline/Elliot Sharp Open the Door (Public Eyesore)
The two guitarists are back for another swing through experimental improvisational fare. The playing is accomplished and innovative; both men are so versatile that these songs incorporate almost too many sounds to mention. If you thought that improvisational music was only about noodling around to no particular end, this album ought to set your straight. Incendiary.

Cold Blood Club Headlines & Firefights (self-released)
The song construction is pretty techno, but there's plenty of analog here alongside the keyboards. I like the muscular sound these folks have put together. Crunchy and addictive.
Contact: coldbloodclub.bandcamp.com

Xander Demos Guitarcadia (self-released)
Demos can play guitar. But what's more impressive is how much feeling he can wring from Malmsteenian runs and Satriani-esque song construction. The songs with vocals tend to come off as second-rate Queensryche. Not bad, but more pedestrian than the instrumentals. Glad to know someone out there is still playing this stuff.
Contact: www.xanderdemos.com

Early Girl Forever We Change (Mellow Boy)
A sunny California outfit that plays jaunty singer-songwriter fare. Nothing exceptional, but quite solid. Gina Longo has a strong voice that lifts up these songs quite nicely.

Engloria Shine (self-released)
Shine, indeed. The ringing, shimmery guitars on this album evoke a very summery picture. Engloria occasionally moves into more straightforward rock territory, but most of this album is spent basking. Not a bad idea at all.
Contact: http://engloria.bandcamp.com

Erez and the End Silent Mountains EP (self-released)
The band describes its sound as "LP-era rock," and I can't find a fault with that. Most of the pieces here are evocative of Dire Straits less-tangential songs, and they slide by most pleasantly. There's a very nice late-night vibe here.
Contact: www.music-kin.com/profile/ErezandtheEnd

Fang Noir I Accept My Defeat (self-released)
Sloppy, sludgy garage fare. Oh, and catchy as hell. These tight songs probably deserve better than they get, but the mess is certainly part of the charm. Not sure what to make of that, but there it is.
Contact: fangnoir.bandcamp.com

Fonda Sell Your Memories (Minty Fresh)
Remember how the Brits got hold of rock and roll and sent it back improved? Fonda has grabbed mid-90s Britpop and, well, pretty much sent it back "as is." Lovely hooks, plenty of distortion and noise in all the right places. Okay, so maybe Yanks only remanufacture. Whatever. Fonda has locked down this sound.

Golden Bloom No Day Like Today EP (self-released)
A bit sparser and darker than the recent album. Nonetheless, Golden Bloom remains one of the better purveyors of sunny pop around. Five songs that will make you wish there were five more.
Contact: www.goldenbloom.net

The Growl Cleaverlever EP (self-released)
Fabulously doomy indie rock. Kinda like a vaguely-stoned Nick Cave. This stuff sounds like the end of the world (whimper style), but there's a whimsicalness that's impossible to deny. Skip to my dirge? Fine by me.
Contact: legrowl.bandcamp.com

Tilman Hartley To Basics (self-released)
The progressions and riffage are basic rock. But Tilman Hartley pretty much refuses to color within the lines that he has established. This leads to some pretty strange moments within what is otherwise pretty mainstream fare, and I kinda like it all the better for that.
Contact: tilmanhartley.com

Pat Hull Light (self-released)
Unconventional folk songs further leavened by modestly warped harmonizin'. I just love the sound, even if the songs themselves don't always come full circle. The more I listen, the more I understand.
Contact: pathull.bandcamp.com

Gilbert Isbin, Scott Walton Recall (pfMENTUM)
Isbin takes the lute, and Walton the bass (bowed and plucked). These compositions sound vaguely improvised, but the structure is easy to identify. These two stringed instruments are rarely paired like this, and after hearing this album, I have to wonder why. Isbin and Walton make the combo sound like a natural.

It's Casual The New Los Angeles pt. II: Less Violence, More Violins (self-released)
Most drum and guitar duos fit nicely in the alt-rock scene. It's Casual trends toward the extreme side of hardcore, and goddamn if it doesn't sound awesome. Oh, sure, there are overdubs--and these guys have a sense of humor, too. A large portion of the lyrics concern urban planning. I'm sold.
Contact: www.itscasual.tv

Miles Jones The Jones Act (Part III) (Mojo)
Spectacularly produced hip-hop. Jones can't quite decide whether he's singing or rapping, but that doesn't matter much. The sound of these songs is the star. Captivating.

Mikael Jorgensen & Greg O'Keeffe Bunny Hate Wolf (Odessa)
Jorgensen is best known from his days in Wilco, and he and O'Keeffe used to record as Pronto. But now they're using their own names, and they're using a different sound. Jorgensen decided to largely synthesize the melodies, which has led to something akin to the poppier moments of mid-80s Zappa. And just ain't bad.

Silvana Kane La Jardinera (Six Degrees)
Kane steps out from Pacificka and does the solo thing. She chose songs from some of her favorite singers, and while that makes this album something of a cover project, I'm not complaining. I'm familiar with just enough here to say that Kane does a good job of reinventing these songs.

Calvin Love New Radar (Autumn Tone)
If Stephin Merritt had been entranced by laptop pop instead of, say, Merle Haggard's electronic progeny, he might've made a couple of albums that sounded something like this. Subtle and sly lyrics tossed into a gauzy electronic universe that has plenty of pep.

Loveskills Multiplicity EP (self-released)
Richard Spitzer has whipped up a lovely froth of dance tunes. Ephemeral? Oh, yes. But oh-so-gorgeous as well. Not sure about the staying power, but I sure had a fine time on the floor.
Contact: www.loveskillsmusic.com

John LT Suburban Superstar (self-released)
Those would be the Baltimore suburbs, for those keeping score. These electric piano-driven songs are straight outta the 70s, and they're playing that for all its worth. The lyrics are as silly as the album title and sometimes they even rise to satire. Simple pleasures are the best.
Contact: www.johnlt.com

Rich Mahan Blame Bobby Bare (self-released)
Mahan is more steeped in the blues than Bobby Bare, but both share a freewheeling, easy-going approach. Mahan's songs veer from old(er) school country to blues to 70s rock to, well, you ought to get the idea by now. The lyrics tend toward to the silly, but inside the modest jokes lies a more serious intent. Life is fun, y'all.
Contact: www.richmahan.com

Maybeshewill I Was Here for a Moment, Then I Was Gone (self-released)
Five Brits who play lovely dramatic instrumental music. The style is modern emo, I suppose, with a few proggy elements tossed in just to wig out some folks. I like the way these songs build and even play off of each other. This is best appreciated as an album rather than songs. The whole is most impressive.
Contact: maybeshewill.net

Noertker's Moxie Little Blue Devil: Blue Rider Suite, Vol. 2 (Edgetone)
When evoking other artists, Noertker's Moxie tends to hew somewhat close to coherence. But it can set sail when operating on its own terms. This project is somewhat between those themes, and the songs hold their shape even as the ensemble spreads its wings. One of the better albums I've heard from these folks.

Oceanography Parachutes of Plenty EP (self-released)
Five songs of impressive range. The vague genre is rock, but Oceanography flits around the horizons of that concept. Not post-rock, not nostalgic, not anything but inventive. I like the way these boys build their songs: Slow, steady and strong. A hammer might break the disc, but would glance off the construction of these pieces.
Contact: oceanography.bandcamp.com

Pere Ubu Lady fron Shanghai (Fire)
Kids today would probably be shocked that Pere Ubu ever had a major-label deal. I remember those days, and I was just as shocked then as folks might be today. Every song here warps within itself and then explodes into something else. That's Pere Ubu, the band that put the "alt" in "alternative" more than three decades ago. And its members are still going strong.

Lisa Richards Beating of the Sun (self-released)
Lisa Richards is a singer-songwriter, and she's steeped in the folk tradition. Sometimes the songs are stark and open, and sometimes the arrangements get very busy. She does a great job of matching production to the needs of the song. The craft is impressive, but the songs are even more moving.
Contact: lisarichardsmusic.com

Rtb2 2 (self-released)
Um, yes, another guitar and drum duo. Rtb2 sounds just like one might expect, complete with the overdubbed solos. The thing I like here is that the boys don't dress things up too much. Very basic, and a load of fun to boot. Contact: http://rtb2.bandcamp.com

Run, Forever Settling (self-released)
Dramatic, punchy emo that tends to deliver on its promises. Everything is in its proper place (which bums me out a bit), but the sheer intensity here wins me over in the end.
Contact: runforever.bandcamp.com

Santah You're Still a Lover EP (self-released)
Gently-rolling songs that pop with an assertive rhythm section. Sounds a bit counterintuitive, but that's a lot of the appeal here. Santah tends to go nowhere very quickly, but the songs themselves are quite lively. I'm not entirely sure what I think of this, but there's definitely something attractive here.
Contact: santahmusic.com

Skeleton Key Gravity Is the Enemy (Arctic Rodeo)
Eric Sanko has been bobbing and weaving with Skeleton Key for more than 15 years. This latest incarnation is just as jarring and challenging as those that came before. I'd say there's a bit more of the atonal, but that's merely a relative observation. Skeleton Key releases don't come around every day, and it's always cool to hear something new from these here parts.

The Sky Life Caves (Deep Elm)
Deep Elm has been veering more and more toward the proggy side of emo, and the Sky Life pretty much completes the circle. These elliptical pieces take their time coalescing, but the attendant sounds are often transcendently beautiful.

Sleep Maps Medals EP (self-released)
Three lengthy and detailed songs. The band describes itself as post-rock, and I can't fault that analysis. Though I think these boys remain a bit more tied to the "rock" than the "post." These songs include samples from the January 1971 Winter Soldier investigations, which makes the work even more haunting.
Contact: sleepmaps1.bandcamp.com

Summer Hours Closer Still (Technical Echo)
The likely swan song for this now-semitranscontinental band is probably its most accomplished. The pop really pops, and the sound has a plushy lushness. Makes you hope this isn't the end.

Aly Tadros The Fits (self-released)
Minimalist fare that evokes a vaguely Latin air. Tadros slips her influences in while you're not listening. All of a sudden, there's a particular hiccup in the syncopation that wasn't there a moment before. Yep, you've got to pay attention. Good music demands that sometimes.
Contact: alytadros.com

These Curious Thoughts What Is It, and How Did It Get In Here? (Viaduct)
Jamie Radford and Sean Dunlop have been passing compositions across the Atlantic for a while now, and this latest collection is just as inventive, eccentric and loopy as its predecessors. The production is more accomplished (brighter, anyway), and that suits these songs well.

Denison Witmer The Ones Who Wait (Asthmatic Kitty)
Witmer prefers the mellow, kinda country-rock side of 70s singer-songwriter fare. Some of these songs take fight, and some don't. I kinda like the way this album does a low fade without ever quite brightening up.