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The Glitch Mob: Drink the Sea – The Remixes, Vol. 1 & 2 (Download to Donate)

The Glitch Mob: "Fistful of Silence" (Eskmo remix)

Formerly a four-piece of electronic musicians, The Glitch Mob is now a trio of artists who each have released music individually.  Despite only self-releasing one full-length album together, which came in 2010, the group has achieved remarkable success and visibility thanks to digital mixtapes and high-profile remixes, including some for TV on the Radio, Coheed and Cambria, and Linkin Park.

Now, to remember and help the victims of the earthquake in Haiti one year ago, The Glitch Mob is releasing two volumes of remixes of Drink the Sea, the group’s full-length debut.  The first volume will be available on January 12, exactly one year after the earthquake, and the second will be released one month later, on February 12.

The group’s own material isn’t as “glitched” as you might expect from the band’s name, but it covers a few different electronic bases, from heavy drum-and-bass to dubstep grooves to sultry electronica.  There’s a focus on gritty synthesizers, squiggly effects, and big, thunderous beats, and a lot of it flirts with electro-rock, sort of akin to The Qemists but without the straight-up dance elements.

The remixes are a unique batch of variations from King Britt, DJ Vadim, Eskmo, Deru, and nearly 20 more established electronic artists.   Some of the best moments are the extra instrumental inclusions, from Jogger’s distorted and possibly African-inspired guitar on “Between Two Points” to Salva’s faux tablas on “How to Be Eaten by a Woman.”

If you love remixes or just great electronic music with hooks, buy both of these volumes to benefit a great cause, and then go back and buy the original version of Drink the Sea.  Both volumes are available from the Download to Donate campaign of non-profit organization Music for Relief.

X-Ray Press: UVB-76

X-Ray Press: "Holy Ghost"

A ’90s-style alt/math-rock band from the Pacific Northwest, X-Ray Press uses its sophomore release to combines melody and harmony with powerful rock beats, noisy effects, and challenging, circling rhythms.  The music is built around the dual vocals and instrumental interplay of guitarist Paurl Walsh and bassist Michael Pasuit, but explosive drumming as well as distorted keyboards and Rhodes piano are just as vital to the album’s success.

That Rhodes, which was “prepared” using felt stoppers and felt scraps, provides great breaks in style throughout the album in the form of neoclassical interludes.  The rest of the music has a lot of harmonizing, progressive, post-hardcore riffs akin to Volta Do Mar or Don Caballero, but it also has a definite Shudder to Think vibe, particularly with vocal elements that are reminiscent of Craig Wedren's quirkiness.  At other times, the vocals even recall a raspy Dave Grohl, but they always achieve an original balance.

Ballaké Sissoko & Vincent Ségal: Chamber Music (Six Degrees)

Ballaké Sissoko & Vincent Ségal: "Histoire de Molly"

Combining traditional West African music with Western classical, Malian kora virtuoso Ballaké Sissoko and French cellist Vincent Ségal have just released their first collaboration, a beautiful and striking collection mostly of instrumental duets.  Sikssoko has released more collaborative albums than solo works, proving his instrument’s modern adaptability, and though this release doesn’t push too many boundaries, it’s an excellent fusion of sounds.

The harp-like sounds of the kora are a warm complement to the deep, vibrating strikes of the cello, which frequently shifts from bowed to plucked passages.  Chamber Music also features a handful of guest vocal and string parts as well as some light percussion, but at its heart is the interplay between these two dynamic musicians.

Kayo Dot: Stained Glass EP (Hydra Head)

Kayo Dot: "Stained Glass" excerpt

Since its formation in 2003, avant-rock outfit Kayo Dot has undergone frequent lineup changes and stylistic shifts, but uniting it all has been the adventurous, long-form compositions of multi-instrumentalist Toby Driver.  The band’s wandering creations vary from savage to beautiful to noisy and ambient, and its newest release, the 20-minute Stained Glass EP, is one long piece that embraces all of those characteristics, albeit without much of its previously established heaviness.

Sadly, Stained Glass comes after the passing of Yuko Sueta, a close friend of the band who also wrote the story and text that accompanied the band’s last album, Coyote.

Musically, Stained Glass uses the vibraphone of Russell Greenberg to provide a calming, unifying element to a long track that presents distorted bass, horns, woodblocks, soft vocals, and assorted keyboards.  There’s an unassuming, atmosphere-building guitar cameo by Trey Spruance, the mastermind behind Secret Chiefs 3, but Stained Glass doesn’t have firm segments to latch onto.  Fans of Kayo Dot, however, have generally come to expect that, and they should love Stained Glass all the same.

Matt Ulery’s Loom: Flora. Fauna. Fervor. (482 Music)

Matt Ulery's Loom: "Great Full"

With diverse influences and an ear for melody, bassist Matt Ulery has been a standout in Chicago's jazz and improv scenes, performing in the classically inspired Eastern Blok and penning his own compositions for solo material and for the multifaceted jazz band Loom.  Now Loom is releasing its second album, Flora. Fauna. Fervor., with the goal of balancing its composer’s creations with the performances of its players.

The material does a great job of balancing those strengths, never allowing wild performances to take over and yet never getting too staid.  It flows from folksy chamber-jazz elegance to playful three-note grooves and to more traditional jazz structures.  Ulery never forces his bass lines to the fore, instead using them as melodic foundations for the additions of trumpet and sax, Wurlitzer electric piano, violin, and vibraphone.

Honorable Mentions

Abigail Washburn: City of Refuge (Rounder)

British Sea Power: Valhalla Dancehall (Rough Trade)

Basil Kirchin: Primitive London soundtrack (Trunk)

Lemuria: Pebble (Bridge Nine)

Tapes ‘N Tapes: Outside (Ibid)

Verbal Kent: Save Yourself

Wire: Red Barked Tree (Pink Flag)

The guzheng is a gorgeous Chinese zither whose existence dates back two thousand years. In the hands of a marvel, it resonates with tactile beauty as its many strings are plucked with precision.

Bei Bei, a native of Chengdu, China, is one such musical technician. And this collaboration with Shawn Lee, a prolific producer who can man as many genres as he sees fit, undoubtedly will be one of the year's finest albums.

Lee is no slouch, but his work really shines when he's coupled with a virtuoso. Together, the two use Into the Wind to navigate through funky down-tempo jams, Kung-Fu flavor, hip hop, soul, and driving grooves.

Bei Bei & Shawn Lee: "East" (excerpt)
Bei Bei & Shawn Lee: \"East\" (excerpt)

Algernon: Ghost Surveillance (Cuneiform)

The brainchild of guitarist Dave Miller, Algernon walks a thin line between melodically driven post-rock and instrumental unconventionality.

The quintet, based in Chicago, has drawn comparisons to hometown compatriots Tortoise — thanks to a vibraphone and a few jazz-inflected melodies — but it very much has established its own voice, particularly on Ghost Surveillance, its third album.

This album places greater emphasis on synthesizers and sprawling song structures, but at its core is the combination of accessibility and technicality that has defined Miller's style. Noisy, circular rock riffs transform to tranquil, wandering passages. "Timekiller," the album's fourth track, is a beautiful, buoyant number — and one of the band's best creations to date.

As always, the vibraphone work of percussionist Katie Wiegman offers a warm, harmonic accompaniment, but the group's best-supporting player may be drummer Cory Healey, whose wild fills and drum-and-bass moments imbue Ghost Surveillance with explosive bursts of energy.

Algernon: "Broken Lady"
Algernon: \"Broken Lady\"

Chicago Underground Duo: Boca Negra (Thrill Jockey)

For 15 years, the Chicago Underground Duo (and Trio, Quartet, and Orchestra) has been an avant-garde jazz outlet for prolific Chicago musicians Rob Mazurek (Exploding Star Orchestra, Isotope 217) and Chad Taylor.

Its size and scope has shifted, but Mazurek and Taylor have been the staples of the Chicago Underground name, melding improvisation with composition through a shifting balance of impulse and atmosphere.

Boca Negra is an interesting dichotomy, as spiraling vociferation leads to upbeat grooves, shifting piano chords, harmonic electronics, and ambient samples.

"Hermeto," for example, is built around a delicate keyboard melody, harmonizing surroundings, and a windy backdrop. "Spy on the Floor" follows with one of CUD's most straightforward grooves, coupling with Taylor's snare-rolling beat to craft a danceable tune.

Taylor handles the programming this time around, which helps to explain some of the duo's new sound. Long-time fans will recognize Boca Negra as being in the CUD ouvre, but they might be surprised at its scope.

Chicago Underground Duo: "Spy on the Floor"
Chicago Underground Duo: \"Spy on the Floor\"

Noah Creshevsky: The Twilight of the Gods (Tzadik)

Electronic composer Noah Creshevsky is a master of contrast, crafting musical patchworks from samples of orchestras, vocalists, pop music, and much more.

The Twilight of the Gods, his second album for Tzadik, is another wild series of rearrangements. Otherworldly performances rub against spliced sonic quilts. Scurrying bits of avant-classical weave in and out, bobbing between vocal undulations and interpretations of freeform rock and jazz.

This very much is for daring audiences, but regardless of preference, most listeners should agree that there is nothing quite like it.

Honorable mentions

Greg Burk: Many Worlds (482 Music)
Four Tet: There is Love in You (Domino)
Fredrik: Trilogi (The Kora)
Harvey Milk: s/t reissue (Hydra Head)
Yuka Honda: Heart Chamber Phantoms (Tzadik)
Joan of Arc presents: Don’t Mind Control compilation (Polyvinyl)
Sam Sadigursky: Words Project III: Miniatures (New Amsterdam)
Slow Six: Tomorrow Becomes You (Western Vinyl)
Univers Zero: Clivages (Cuneiform)

Sigh

No strangers to fusing other revered genres to a doomy combination of black metal and thrash, Japan's Sigh uses its eighth studio album to deliver symphonic, epic metal that calls upon classical instrumentation to top its rock foundation.

Brass, woodwind, and string instruments — as well as organ and piano — accent as well as lead sinister melodies that take surprising turns through fanciful themes. Raspy, menacing vocals coat each track, resulting in a dramatic presentation that isn't much at odds with its complex backdrop.

Fans of Estradasphere, Diablo Swing Orchestra, Trans-Siberian Orchestra, Emperor, and Gonin-Ish would do well to check this out. With grade-A melodies that would sound at home with orchestras and chamber ensembles, Scenes From Hell is one of the first great albums of 2010.

Sigh: "The Summer Funeral"
Sigh: \"The Summer Funeral\"

Colorlist: A Square White Lie LP (482 Music)

A Square White Lie, released via heavyweight vinyl and MP3s, is the first album in two years from Colorlist, an ambient improvisational duo from Chicago that texturalizes sound by utilizing delayed, echoing loops, mounting tension, harmonic and dissonant layers, and germane percussion.

The four-tune album is a soothing, shifting sea of sound that finds Charles Gorczynski, with sax, harmonium, and electronics, building full melodies out of fragments, accompanied by the beats, brush strokes, and accents of drummer Charles Rumback.

Gorczynski and Rumback are staples in Chicago's younger circle of improvisers. With groups such as Silences (Sumire), Leaves, the Charles Rumback Quartet, and L'Altra already in their portfolios, the duo uses A Square White Lie to further supplement its distinguished body of work.

Colorlist: "The Lows"
Colorlist: \"The Lows\"

RJD2: The Colossus (RJ’s Electrical Connections)

Following a divisive album that saw the introduction of poppy, soulful vocals, producer RJD2 returns with something of a split release — an album that leaves no shortage of accessible, vocal-driven tunes but that emphasizes some inventive instrumentals.

Notably, one of those instrumentals, "Let There Be Horns," opens the disc. In addition to sporting a music video with a protagonist minotaur, "Let There Be Horns" is a grooving instrumental that, at times, sounds vaguely Indian while dousing the listener in synth horns, rock guitar, and squiggly keyboards.

"Games You Can Win," featured below, is a vocal jam that follows and glistens with an apparent glockenspiel or chimes. "Giant Squid" then returns the funky instrumentals, leaning on fuzzy bass, harpsichord, and spacey effects.

Fellow electro-crooner Kenna makes an appearance on The Colossus, and RJ gets more vocal assistance from Phonte Coleman, Aaron Livingston, and others. But whether or not you dig the soulful RJ, there's no doubt that the music on The Colossus is some of his best to date.

RJD2: "Games You Can Win"
RJD2: \"Games You Can Win\"

Honorable mentions

Good for Cows: Audumla (Mimicry)
Worm Ouroboros: s/t (Profound Lore)

Blockhead

As a highly lauded hip-hop producer, Anthony "Blockhead" Simon is behind many of the great tunes and fat beats of big-name indie rappers, including Aesop Rock, Slug, Cage, Murs, and Mike Ladd.

The Music Scene is only Blockhead's fourth full solo album,which seems strange given his decade of production. Nevertheless, it again documents his keen ear for melody, dynamics, and stylistic convergence. "It's Raining Clouds," the album's opener, is one of many examples of this convergence, with head-nodding beats, flute loops, sitar-like sounds, sultry horns, soulful samples, and a whistling backdrop.

Available via MP3 a few months ago, The Music Scene now gets a full CD release through Ninja Tune.

Nick Cave & Warren Ellis: The Road soundtrack (Mute)

Just months after the release of a "greatest hits" of soundtrack works, rock-and-roll mavericks Nick Cave and Warren Ellis combine forces for another melodic score that belies the post-apocalyptic nature of its film companion.

Centered on violin and piano, this score is alternately beautiful, melancholic, and tense, with emotive passages that speak to the drama and conflict of the protagonists in this adaptation of Cormac McCarthy's novel.

Rempis/Rosaly Duo: Cyrillic (482 Music)

Saxophonist Dave Rempis and drummer Frank Rosaly are two of Chicago's most productive improv musicians, delighting diehard jazz heads with the likes of The Rempis Percussion Quartet, Engines, Viscous, Cicadas Music, and dozens of other outfits.

Here the two entertain with a dose of free jazz that is as blistering as it is subdued; wild runs lead into relaxed rhythms. Though most of the material clashes with itself as each instrument does its thing, the album is more approachable than its counterparts that carry two or more tonal instruments.

Additionally, there are moments where the two really synchronize. These usually come after minutes of tension, making the payoff that much more rewarding.

Heavy Trash: Midnight Soul Serenade (Fat Possum)

As Jon Spencer and Matt Verta-Ray unleash their third disc of old-school roots rock and rockabilly as Heavy Trash, the duo collaborates with a bona fide cast of contributors to create some of its finest tunes on a disc that expands its repertoire.

Accompanying organ is spread throughout Midnight Soul Serenade, an album that also contains splashes of piano on "Gee, I Really Love You," vocal gentleness and female vocal backings on "Good Man," vocal eccentricities on "Bumble Bee," Southwestern guitar and baritone harmonies on "Pimento," and low tones and acid flair on "The Pill," a tune evocative of Twin Peaks that tells its own psychedelic tale.

Top-end players Simon Chardiet, Sam Baker, Powersolo, Mickey Finn, Daniel Collas, and Those Darlins lend their good graces. If this kind of music piques your interest, pick this up.

Themselves: CrownsDown (Anticon)

After six years of silence (spent on countless other projects, many with each other), no-nonsense rap duo Themselves — Adam "Doseone" Drucker and Jeffrey "Jel" Logan — returned with a free "mixtape" earlier this year. Now the two have released their proper third album, CrownsDown, a sample-driven album that is both experimental and traditional.

The gritty, nasally intonation and rapid-fire delivery of Jel are slathered up and down the disc, which is based on hip-hop and dance beats and patchwork samples. Subtle founder Dax Pierson and 13 & God bandmates Jordan Dalrymple and Markus Acher make cameos.

Minamo: Kuroi Kawa: Black River (Tzadik)

Avant-violinist extraordinaire Carla Kihlstedt (Sleepytime Gorilla Museum, 2 Foot Yard, The Book of Knots) and prolific classical pianist Satoko Fujii (Satoko Fujii Orchestra) spend much of their time on the outskirts of musical convention, combining their desired genres in whichever ways that they see fit.

Here the two create two worlds on two discs: one of dutifully recorded compositions and one of live, stream-of-conscious improvisations. Fans of experimental chamber music should dig this.

Honorable mentions:

Dave Douglas: A Single Sky (Greenleaf)
Jesu: Opiate Sun (Caldo Verde)
Mike Reed’s People, Places & Things: About Us (482 Music)
Jessica Pavone: Songs of Synastry & Solitude (Tzadik)
Pyramids with Nadja: s/t (Hydra Head)
Rupa & The April Fishes: Este Mundo (Cumbancha)
The Squirrel Nut Zippers: Lost at Sea
John Zorn: Femina (Tzadik)