T. Raumschmiere
I Tank You
Shitkapult
Street: 10.14
T. Raumschmiere = Marilyn Manson + Pole
Marco Haas, a.k.a. T. Raumschmiere’s superpower, continues to serve him, that power being the ability to transmogrify the mundane into something entertaining and unique, punishing the absurd until it turns clever. “111 kg DNA” is otherwise shitty, diva vapidity, vocalist Barbara Panther intoning cliched lines such as “when will you be mine?”, but Haas’s Butch Vig-like production and vocal manipulation turn the track platinum. Likewise on “Animal Territory,” a B-boy jam a few steps away from Limp Bizkit, if it weren’t for drums as heavy as the Beastie Boys’ “So What’cha Want” and Berlin’s parallel-universe version of De Lench Mob, the Puppetmastaz, on the mic. His take on Nu Rave (“E”) is just as amazing, Haus spinning idiosyncratic arpeggiations and disco rhythms with beautiful distortion and global mod-wheel cranks that literally tilt your dance floor. In the case of I Tank You, a negative plus a positive always equals a positive. –Dave Madden
The Week That Was
Self-Titled
Memphis Industries
Street: 07.08
The Week That Was = (Field Music) + 3
Have you heard of Field Music? They’re a talented threesome from across the pond who’ve decided to congenially part ways for a time. So that’s sad, but hey, now we have The Week That Was! The universe has a way of working out, doesn’t it? Peter Brewis, one third of Field House, decided one day to live without his television—to cut himself off from the current events that were pervading his existence. So began the experience that constitutes the lyrical backbone of The Week That Was’ self-titled debut. With nine credited band members, the band’s sound is lots of noises all together, but surprisingly clear for it. I’d call it melodramatic progressive indie-pop rock if I had to call it something, but there’re still other elements for which this name is incomplete. The sound is crisp and clean, with violins and numerous percussive elements. I liked almost every track on the first listen-through, which is very rare for me, and it has since become my favorite album of this summer. Go check it out, and if you’re in the Portland area on Nov. 28, be sure to catch these guys at Doug Fir. –Jesse Hawlish

Vivian Girls
Vivian Girls
In The Red Records
Street: 09.30
Vivian Girls = The Cranberries + Yeah Yeah Yeahs
The best part of Vivian Girls, besides their amazing vocals, is the sheer rawness of their songs. While very melodic, the band’s first full-length release plays out like one of the best punk albums of yesteryear. While the songs are steady and well-paced, there’s a sense of disorganization to their sound. However, this only adds—rather than distracts—from their tunes and really gives them a specific flavor. It’s nice to see a group finally get it right, let alone get it right on the first try. –Kat Kellermeyer

Von Iva
Girls on Film
Warner Brothers
Street: 10.15
Von Iva = Yeah Yeah Yeahs + Franz Ferdinand + The Soul Sisters
Von Iva, one of the most recent figures of contemporary dance music, is revolutionizing the art of soulful and eclectic drunky-disco-dance grooves all over the world. Put this CD on and close your eyes … this is the closest you will ever get to a private discotheque. Von Iva has developed a hype-generating door scene full of swaggering ass-shakers with this record. Girls on Film makes the grown-up 70s flower wild-child orgasm in nostalgia and the average R&B/Motown lover pick up the five pace (in their dance shoes). The bread and butter in this album is the up-tempo soul, disco and dirty rock n’ roll sound. From the sweetest pop to the darkest, druggiest dance rock; from good-time party funk to trancey electronic soundscapes; Von Iva makes the music that screams in the name of the night. –Lance Saunders

Wallpaper
On The Chewing Gum Ground
K Records
Street: 11.04
Wallpaper = The Pixies + The Furs + Women (less bad-ass)
It’s nice to hear a new band with no ego … maybe it’s just the drugs. Some Opium Den in Washington, birthplace of Wallpaper, just brings confusion and the conviction of a few druggies who know their instruments, if that makes any sense. This album is very pure and fun. On the Chewing Gum Ground is filled with deep and warm pop songs with innocent lyrics. The beauty is in its simplistic melodies made out of low-toned SM57’s and Postal Service-esque synth-pop drums; oh, don’t forget about the multi-layered acoustic guitar riffs in the background. Listening to this record and knowing that it is the first installment, I wonder how many come after this. Wallpaper speaks in a language that never ends and I truly do not see an expiration date for their approach to the music they make. On The Chewing Gum Ground is good ol’ college rock—dance party music. –Lance Saunders