Amy LaVere             
Stranger Me
Archer Records
Street: 07.19
Amy LaVere =A Teenage Kristin Hersh Vacationing in the Bayou
Sometimes when I’m told someone else thinks I’ll enjoy someone, it often doesn’t work out that way. I had been told that Americana/folk chanteuse Amy LaVere had a “sexy” voice, and so I approached it as I do most things in this situation: with a little apprehension and skepticism. Turns out the joke was one on me, as not only does LaVere posses a very cool voice, but is a pretty accomplished songwriter as well. The 11 tracks that comprise this, her third album, showcase both of those strengths well. Opener “Damn Love Song” is simply fantastic, as she tells off a former lover with a sarcastic “Don’t it say/Don’t it say it all” and a great two-step drumbeat signifies marching orders. Born out of a break-up and other real-life grief, it definitely sets a tone. Producer Craig Silvey (Arcade Fire) builds a nice mixture of musicians around LaVere’s upright bass-playing, such as Rick Steff on keys, David Cousar on guitars and former flame Paul Taylor on drums, and a horn and string section. “Red Banks” and “Great Divide” continue the post break-up motif—actually, all the songs do to some degree—but there is also great beauty found in the bluesy “Often Happens,” “Tricky Heart,” and the ironic “Lucky Boy.” Her cover of Captain Beefheart’s “Candle Mambo” featuring a theremin is odd, and yet fits well into the song cycle, while closing track “Come On” highlights LaVere’s unique, husky voice’s beauty. –Dean O Hillis

Anti-Flag
Complete Control
Sessions
Side One Dummy
Street: 09.27
Anti-Flag = The Clash + Billy Bragg + Street Dogs + Propagandhi + Saves the Day + Buzzcocks + Against Me!
I love Anti-Flag—always have, always will. That said, Complete Control Sessions is half Clash-tribute, half recording their songs with a minor folky, Billy Bragg style—which is fine, there’s just nothing “new.” Don’t be frightened: They still employ distortion-fueled guitars with thick power chords. The Flag have merely converted the ethos of songs “The Economy Is Suffering,” “Turncoat” and “This Is The End” to be more conducive to en masse sing-alongs at shows with a more Bragg-like vocal intonation and warbling (in a good way). Anti-Flag began moving in this direction with The Bright Lights of America, and have just intensified this approach. The release includes three Clash covers (“Should I Stay Or Should I Go” twice, “Guns Of Brixton” and “White Riot”) and a cover of “I Fought The Law,” which is basically another Clash cover. Fans will cherish this release, and Anti-Flag haters? Indie sux, hardline sux, emo sux and you suck. –Alexander Ortega

The Body
Anthology
Corleone Records
Street: 01.01
The Body = Thou + Corrupted + 5ive
Interestingly, this compilation was only recently handed to me after being released in January 2011, and I hadn’t heard of it until it was in my hands. Shows how up-to-date I am, apparently. Not that I’m complaining—I missed the boat on The Body initially, so any chance to have my ears pummeled by them is welcome. Anthology is exactly that: an anthology of tracks from various demos, splits, and tour CDRs that, until earlier this year, were rather difficult to come by. It’s easy to see how the duo came to write and record 2010’s amazing All the Waters of the Earth Turn to Blood after listening to these early tracks—droning guitar and drums mixed with the reverb up to 11 stack beautifully over lunatic asylum, self-torture driven vocals, and create the kind of atmosphere that is only conducive to two things: introspection or mutilation. Definitely worthy of a space on your shelf. –Gavin Hoffman

Bonnie “Prince” Billy
Wolfroy Goes To Town
Drag City
Street: 10.04
Bonnie “Prince” Billy = Silver Jews + Jose Gonzales
Will Oldham rarely strays from his usual path on an LP and this one is no different. He remains his somber, fragile, folksy self. The biggest addition to this album comes with the appearance of a female vocalist (Angel Olsen), and although I am not one for female voices, she is great. The back and forth between the two is really entrancing, as are her choral backing vocals. The highpoints of the album are the darker, more desolate-sounding songs (“New Whaling,” “We Are Unhappy”) upon which Oldham’s lyrics often dance the line between sardonic Christian and snarky atheist. Will Oldham has done a great job of maintaining his signature sound without becoming boring; this album certainly has its place amongst the rest of the Bonnie “Prince” Billy canon. –Cody Hudson