Interpol, 'Interpol' (Matador)
At the core of every great Interpol song hangs a hook so barbed it could draw blood, no matter how heavy the surrounding goth atmospherics.
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Words of Wisdom: Superchunk
"Hold on," says Superchunk drummer Jon Wurster, eyeing a black stretch limo in front of a bougie downtown Chicago hotel. "I need to make sure it's long enough."
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!!!, 'Strange Weather, Isn't It?' (Warp)
Bits of darkness invade !!!'s first album in three years, and it's a dangerous supplement for a band whose foundation is winking, boisterous funk. When the slink doesn't get too murky, as on "AM/FM" and the cheery "Steady as the Sidewalk Cracks," the nighttime vibe pays off. When the fun gets left behind ("Hollow," "Jump Back"), little remains except a pleasant-but-purposeless bass groove.
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Cotton Jones, 'Tall Hours in the Glowstream' (Suicide Squeeze)
The best parts of this boy-girl duo's second album sound like some obscure '50s act, the kind that ought to list "reverb" as a band member. "Song in Numbers" and "Man Climbs out of the Winter" stare gorgeously through Roy Orbison's Ray-Bans, deliberately dating themselves with vintage ghostly keyboards and distant drums.
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Maps & Atlases, 'Perch Patchwork' (Barsuk)
This Chicago band’s skittish energy recalls Talking Heads and TV on the Radio, lightening any dark subject matter with twitchy bursts of color.
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Kele, 'The Boxer' (Glassnote)
Kele Okereke follows Thom Yorke's path on this first solo set, stepping away from a hugely successful band to spend more time addressing the aesthetics of the dance floor.



