Earlier this year frontman Bradford Cox revealed his poppier side with a release as Atlas Sound. Split into two discs, the Microcastle half of this release seems to follow what was established on the Atlas Sound record. Weird Era Continued, however, is a more natural progression, falling somewhere between the noise of Cryptograms and Atlas Sound’s more melodic slant. The mildly nihilistic tone of Microcastle sees a shimmering instrumental opener give way to “Agoraphobia”, in which Cox sings plaintively about a desire to be imprisoned. Conversely, Weird  opens with the rather sleek and Interpol-like “Backspace Century” before shifting into the very catchy “Operation”. Instrumentals like ”Weird Era” and “Slow Swords” return to the droning soundscapes of Cryptograms but are more engaging. Whether this release is to be interpreted as a double album or two single albums packaged together is ambiguous, though the albums are linked by a sharing of the song ”Calvary Scars”; on Microcastle as a brief interlude, and as a powerful ten-minute finale on Weird. It does feel a lot like the Bradford Cox Show and Microcastle especially is hard to differentiate from Atlas Sound, but nonetheless Deerhunter have released two consistently excellent albums here. Bow down, peasants: Deerhunter are indie rock royalty.

- Tim Connors is making his list, checking it twice, and posting it here.

- Eileen Salvi checks out a modern mixtape from The Rapture.

The Rapture
Tapes 
!K7 

When I heard that The Rapture came out with the new album Tapes, I was excited to say the least. But my excitement soon turned to disappointment when I realized that instead of some new studio material, it was merely a glorified mix tape of music from other artists compiled by the band. But as I put on my headphones and pressed play, my disappointment quickly turned to joy and I found myself lost in the musical journey that is Tapes.

Starting with the all too brief opener “Earthquake Shake” by 70’s psychedelic soul quintet The Undisputed Truth, Tapes is a collection of classic grooves and rare gems from the late 70’s to ‘08 blended into an 80-minute party-friendly mix of funky house music, disco, electronica and hip hop.

From the funky roller disco grooves of the Bar-Kays‘ ”Holy Ghost” to the electro fuelled “Where’s Jason K” by Syclops, and stand out tracks by Ghostface Killah, Armand Van Helden, DJ Mujava, Paul Johnson (anyone remember the late 90s club hit “Get Get Down”?) and Daft Punk’s Thomas Bangaltar, Tapes has the potential to provide a soundtrack for pre-club drinks on a Friday night or a lazy Sunday afternoon with friends. That said, it works just as well on a quiet night at home with a glass of red wine, a dark room and a pair of headphones.

I haven’t really listened to Belle and Sebastian since the late 90s; they got a bit overexposed and I was part of the “meh”-mumbling backlash. But I don’t discredit them at all. I rather enjoy their early records and I was very happy to find that The BBC Sessions plays more like a greatest hits than a live collection.

The first disc, Radio Sessions, is a compilation of unreleased recordings from between 1996 and 2001; also the last to feature ex-cellist and vocalist Isobel Campbell. It’s been so long since I’ve heard Isobel’s soft, dewey vocals next to founder Stuart Murdoch’s twee, nasally expressionisms; it made me dig out my copy of the band’s second record and personal favorite, The Boy With The Arab Strap.

The second half – Live in Belfast - is what you’d expect – a live recording from a performance in Belfast on December 21^st, 2001. It includes covers of The Beatles staple “Here Comes The Sun”, The Velvet Underground’s “I’m Waiting For The Man” and hard rockers Thin Lizzy’s “The Boys Are Back In Town”. The band hardly plays live, so don’t think you’ll hear the same versions of your old favorites. You’ll be surprised throughout the 12 tracks.

This is a great starting point for new listeners, and worthwhile for old ones who remember why they liked this band in the first place. Recommended for any indie rocker’s stocking or Hanukah spoiling this holiday season.

Coldplay
Prospekt’s March
EMI

Like many Coldplay fans, I have been a bit put off by the happy, colorful direction in which vocalist Chris Martin has taken his band, seemingly since his marriage to actress Gwenyth Paltrow. X and Y seemed too polished and lush to be from this little Parachutes band of yore. Gone were the earnest songs that craned our necks to the heavens, look at the stars, and “See how they shine for us.” Instead, Coldplay somehow became more akin to a U2-styled stadium-rock type of entity – a perpetual self-parody, confirmed again as such with the release of their fourth studio album Viva la Vida or Death and All His Friends.

But now Coldplay are back roughly five months after the release of Viva La Vida with Prospekt’s March - an EP of songs that weren’t ready for Viva’s initial release, and one that shows glimmers of the band they used to be.

Sure, there’s a bit of the old-hat remix, re-visioning that’s simply fodder for triple-A radio – like “Lost”, which features a rap verse by Jay-Z amongst bigger drum beats and loops.

But the EP’s title track, “Prospekt’s March/Poppyfields” had my jaw drop as I heard Martin ache and coo, “Here I lie, in a separate sky” – it’s like hearing a ghost. It also sounds like things might not be all that well in paradise. It’s this song that has me crossing my fingers that Coldplay can do another Parachutes, or perhaps even something like A Rush of Blood To The Head.

Also of note is the EP’s second track, “Postcards From Far Away”. All 48 seconds of the song are used very deliberately and effectively. The short piano coda drips with such melancholy that you can almost hear Martin’s heart tremble.

Prospekt’s March sounds like a band remembering; now I’m really hoping they don’t forget.