With few exceptions, Bob Boilen and I can usually guess what a CD is going to sound like just by looking at the cover art.  I guess when you look at several hundred discs a week, you start to see patterns.   But you can add Melissa Czarnik's new album, Raspberry Jesus, to the list of ones I got very, very wrong.  Here is is:

courtesy of the artist

What would you guess?  Angular post-punk?  Chamber pop? Speed metal (but ironically)?  I figured it was some sort of mopey, introspective, whisper-rock-folk, singer-songwriter fare (not that there's anything wrong with that).  It turns out Czarnik is indeed a poet, a gifted writer, with a fantastic voice.  But her medium isn't broody folk.  It's hip-hop.

Czarnik is a soulful, fluid rapper, backed by the five-piece Eric Mire Band.  Together, they've produced a surprising, potent and thoughtful mix of funk, jazz, soul and hip-hop.  Czarnik's flow reminds me a lot of Lauryn Hill's, so it wasn't surprising to learn that Czarnik cites Hill as an influence.  She's even included a few short skits interspersed throughout Raspberry Jesus, a bit like Hill did on The Miseducation of Lauryn Hill.

Raspberry Jesus is Czarnik's sophomore release, coming two years after her debut, Strawberry Cadillac.  I had a hard time picking just one cut to feature here, so you'll definitely want to check out the rest of Raspberry Jesus.  You can hear and learn more at Czarnik's website.

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Shane Williams

Listening to Fading Collection through headphones while I sit at an office desk is cruel. The band's charged electro-dance-rock makes me wish I was at a crowded dark club with pulsing strobe lights. The overdriven synths and rattling drums are perfect for anyone prone to tearing up dance floors late into the night.

Though the '90s rave scene passed, Fading Collection's latest EP Attakk recalls the jolting sounds of electronica bands like The Prodigy and The Crystal Method. With Sarah McGuinn’s breathy melodies, Fading Collection packages the group's explosive energy in shorter indie-pop tracks rather than techno marathons. The group's members may rely on electronics to create a spacy industrial aesthetic, but, as they noted on the cover, “this recording is auto-tune free.”

Take a listen to "March Rabbits."  (You might need to check your blood pressure after).

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The Californian indie-pop band hit the ground running after SXSW and a Hype Machine hit with "Pumped Up Kicks."

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The Californian indie-pop band hit the ground running after SXSW and a Hype Machine hit with "Pumped Up Kicks."

I hope your summer playlist isn't finalized yet, because here's one more essential track for the mix: "Pumped Up Kicks" by Foster the People.  It's a laid-back, breezy song made for a top-down covertable cruise to the beach.

A killer melody floats lightly over a surf guitar lick as mellow as low-tide. Ambient synths echo a distant cicada buzz creating a hazy summer feel. It's an indie-pop jam that exudes sunny californian vibes.

Foster The People caught a big wave with love from Hype Machine listeners and a few key South by Southwest performances.  Attention from blogs created a rippling effect of praise with one comment noting "Pumped Up Kids" should be played in a similar situation to this scene in Hi-Fidelity.

But don't go looking for Foster The People on Myspace, check out Facebook instead. The unsigned band is committed to staying connected to its growing audience by crowd-sourcing its Facebook friends for tour locations, tweeting with updates, and offering free downloads via its official website.

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Marielle Solan

The Brooklyn-based rock band, MiniBoone, has an uninhibited love for loud and fast music. The group's EP, Big Changes, is joyous power-pop with unpredictable twists and turns.

There are traces of the Talking Heads in MiniBoone's wailing lead vocals and endearing “sha-la-la” backups. With guitar feedback, jerky rhythms and catchy hooks, these songs can get stuck in your head for days on end.

The studio session for Big Changes sounds like it was fueled by an endless supply of energy drinks.  MiniBoone recreates that frenzied feeling with every gig. The band's members dance recklessly on and around the stage, tripping over wires and crashing into each other as they pummel the microphones.  Despite MiniBoone's wacky performances however, it takes serious skill to rock like they do.

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Idris Goodwin's rap album, Break Beat Poems, highlights well-produced beats with smart down-to-earth lyrics.

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Idris Goodwin's rap album, Break Beat Poems, highlights well-produced beats with smart down-to-earth lyrics.

Idris Goodwin's rap album, Break Beat Poems, works on several levels. He makes scholastic thinkers groove by alluding to Kafka and Charles Dickens over  bluesy electronic beats. He explores heavy topics like racial profiling and war, but also reminisces about his adolescent days in basketball camp. His verses are engaging but with just enough hook to serve a purpose.

Goodwin's bassy voice harnesses the punchy synth beats comparable to Timbaland.   Though his flow is on par with rap elites, his rhymes connect to the everyday guys trying to pay rent. In his song “Used Car,” Goodwin admits he’s not living the life other hip-hop artists claim.

“I’ll never say what I’m not. I’m a guy with the microphone, a ten dollar watch. I drive a used car not a yacht.”

It's refreshing to hear a powerful and down-to-earth voice on a well-produced track. You can check out more from Idris Goodwin at his myspace.

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Erika Reyna

Mother Falcon performs at The Parish in Austin, TX on February 26.

When I saw fifteen classical musicians listed in Mother Falcon's liner notes, I didn't expect to hear a tight, catchy pop record. The group's album, Still Life, is a delicate balance of bright strings, horns and woodwinds, all tied together in upbeat hooks and charming male-female vocals. Mother Falcon's songs are maturely crafted with a  youthful energy.  (Each member is still in college).

Mother Falcon started in Austin, TX when three cellists began to flesh-out musical ideas after their high school orchestra practice. Instead of losing momentum once they dispersed to attend different colleges, the project expanded to include more musicians scattered across different states.

When schedules can be coordinated, there are twenty or more performers at Mother Falcon's gigs. The band played at SXSW this past spring and gained attention in the Austin circuit for the group's fresh spin on classical arrangements.

“Marigold” is a lighthearted track with violin riffs pushed forward by fast paced cellos, but still anchored by a sweet melody and foot-stomping rhythm. You can hear more songs from Still Life at their myspace.

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Listening to Civil Civic might be the best decision you make today. But don’t click play just yet. First, make sure to safely stow your acoustic guitar, along with your beard-rock records, and any other breakable items; You wouldn’t want anything to get damaged by the inevitable, frenetic limb-flailing that’s about to occur.

Courtesy the Artist

With crispy guitar and crunchy bass as its driving force, Civil Civic is tight, purposeful, and not afraid to experiment with noise. It’s not that they’ve got a groundbreaking new sound, but I still hesitate to compare them to other electro-guitarist duos like Ratatat. Even though they share some sounds, the two bands are in essence very different.

Part of what separates Civil Civic is the duo's attitude — indifferent toward the more serious aspects of life, with an unabashed love for having a good time, which is an incredibly refreshing alternative to taking things too seriously. Judging by the band's website, the members are borderline social deviants, and rude, hilarious bloggers, to boot. Raucous but clever, these qualities come through in Civil Civic's music, as well. At this point, the two band members are spread between London and Barcelona, and it doesn’t look like they’ve made it to the States yet. For the time being, they seem content to tour as well as wreak general havoc around Europe, in what they call an abhorrently large “armored touring vehicle.”

Civil Civic put out its first EP on an awesome, limited set of 100 individually screen-printed, multi-colored cassette tapes. I’ve had “Less Unless,” the standout track from EP 1, on repeat for days now. This summer they’re putting out a “double b-side” 7-inch vinyl, entitled Run Overdrive/F—k Youth, which you can check out at the duo's website.

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Matt Shaw

One of several prints by musician and artist Matt Shaw, on display at The Spend's website.

The Spend is a one-man project featuring the music of Chicago native Matt Shaw.  Shaw writes and records the songs, creates all of the album art, and owns and runs the label that released The Spend's latest record, Mild Peril.

The Spend's music is largely acoustic, introspective and intimate, wistfully exploring common themes like lost love, dysfunctional families, growing old and death.  While the songs are beautifully rendered, reverb-drenched atmospherics and the occasional rumblings of a distant electric guitar give the mix a darker, otherworldly feel.

You can hear Shaw's range in these two tracks, "Gills (Dry)" and "Gills (Wet)." You can also hear more of his music at The Spend's MySpace page.

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sara sanger

Nicholas Philip Sprague-Wolch, who writes and records as Goodriddler, refers to himself as an organic, electronic singer-songwriter, but his compositions explore much more than just the world of song. His new, mostly instrumental album, Tickling The Tail Of The Tiger, is as eerie as it is iridescent. Alternating between glitchy electro-acoustic hybrids and lovely piano lullabies, the music is equal parts enchanting and chilling.

Whether it's the subtle click of an electric piano, or the rattle of a live drum kit, each song is supported by a rich, percussive backbone.  Live, Goodriddler performs the songs solo, swiveling between drums and keys, occasionally surprising audiences by producing a ukulele or diving into a poignant vocal refrain. The foundation of these songs, though, is the soaring, melodic keyboard work.

You can hear more at the band's myspace page.

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Enlarge Courtesy the Artist/Summer-Winter

Courtesy the Artist/Summer-Winter

If you’re a fan of The Flaming Lips’ album The Soft Bulletin, then there’s a good chance you’ll like the sound of Summer-Winter. Based in Pittsburgh, the group's songwriter, Terry O’Hara has a voice that has some of the faltering facets of Lips frontman Wayne Coyne, while at times channeling the intimacy of the late Mark Linkous (Sparklehorse). The songs on Alone Is Yes are more folky than the Flaming Lips', but the fuzzy electronic backdrops and textural work, along with O’Hara’s voice, bear a striking resemblance to the Lips’ Soft Bulletin days.

Summer-Winter has an interesting backstory, as well. O’Hara worked in various locales across the country in a wide array of jobs. He was a dishwasher, a farm hand in a hen house, a graveyard security guard, a vacuum repairman, and a political aide. Though, according to his bio, he was always fired from these jobs, due to “lack of skill and poor interpretation of interpersonal cues.”  O’Hara eventually settled in Philadelphia, picking up with the local Pittsburgh music scene.

Alone Is Yes floats through ten lovely folk songs that sound like they were recorded in a spaceship. This zero-gravity vibe comes forth most clearly on  “Tired,” a cut which does its sleepy name justice, drifting through drowsy drum beats, all the while resting on a foggy synth pad cloud. You can check out more of Summer-Winter at the band's Myspace page

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Download "Mercy Over Justice" by Malgre Lui (Right-click or control-click to save to your computer)

According to the paperwork, this discreet CD-R has been sitting on our shelves since the summer of 2008. I find this hard to believe. I'm not saying that this modest 6-song EP is a work of staggering virtuosity, but Jamison Lee, a.k.a. Malgre Lui, has a soulful, unpretentious songwriting style that really caught my attention. His lyrics are vivid and imaginative, and each of his offbeat ballads could easily double as a singalong. The songs he writes are delicately arranged, and glued together by a gaunt but expressive voice that recalls great voices like Brian Wilson or more contemporarily, Will Sheff. Lee's songs have the feel of a simple home recording, but the music befits the slightly quirky, lo-fi sound.

Listen to "Mercy Over Justice"

Lee is a doctoral student in poetry, which probably keeps him busy most of the time, but he has a natural facility for writing songs that are both playful and sincere. The six tracks that he recorded a few years ago remain his only release to date. A website, where the songs will be available to download, is in the works, but for now, they are all available to stream on his Myspace page.

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Cover art for Montagna and the Mouth to Mouth's L'avenir

Courtesy the Artist

Cover art for Montagna and the Mouth to Mouth's L'avenir

Download "Amplify Me" by Montagna and the Mouth to Mouth (Right-click or control-click to save to your computer)

We get hundreds of CD submissions every week at All Songs Considered and, as host Bob Boilen noted in his interview with Electronic Musician Magazine, we're just looking for something that simply grabs our attention — a surprising album with a little adventure or mystery and, preferably, a really strong opening cut. I've been plowing through boxes of CDs the past couple of days and found what we're looking for on an album called L'avenir, by the New Jersey-based band Montagna And The Mouth To Mouth.

L'avenir isn't genius at work, but it is a sharply produced collection of smart, inspired pop. Songs, such as the incredibly infectious opener "Amplify Me," swagger with simple backbeats set against glittery guitars, horns and organs. Perhaps because of frontman Jason Montagna's almost deadpan delivery, and melodies that stay within a four or five note range, the tracks have a detached insouciance while dispensing sometimes twisted meditations on love and death. At the same time, the music is oddly celebratory, and even wistful, as it seems to revel in the present, long for the past and hope for the future all at once.

Here's that great opener, "Amplify Me."

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Download "The Last Time I Saw You" by Sam Reynolds (Right-click or control-click to save to your computer)

Courtesy the Artist

Sam Reynolds

Sam Reynolds writes beautiful acoustic guitar music. His songs rise and fall in natural cadences with tasteful vocal melodies and harmonies. Heavily influenced by Elliott Smith, he channels the warbling, whispered vocal style of the late musician. His first studio album, Sam Reynolds I, showcases an impressive songwriting talent with an intuitive folk sensibility.

Though Reynolds recorded the album in Los Angeles, he continues to reside in his home state of New York, and occasionally plays small venues along the Eastern seaboard. He certainly has the songwriting chops to crank out some technically good tunes. But what is perhaps most impressive, is that Reynolds is only 22. He not only has time to make more music, he also has time to develop and grow and find a unique voice of his own.

You can listen to his whole album at his Web site, or this song, "The Last Time I Saw You."

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Download "Charlie I'm Through" by Flotilla (Right-click or control-click to save to your computer)

Admittedly, Veronica Charnley of the band Flotilla has a vocal style that doesn't always appeal to me. It's a bit overwrought at times. But it works perfectly with the intricate orchestrations on the band's latest album, One Hundred Words for Water, creating a concoction that's hard to tear yourself away from. Charnley writes the songs for Flotilla, while multi-instrumentalist Geof Holbrook does the arrangements, which ultimately define the band.

Benoit Moniere, Geof Holbrook, Veronica Charnley, Eveline-Gregoire Rousseau (courtesy of the artist)

Self-described as a "half-Anglo, half-Franco, boy-girl, boy-girl" band, based in Montreal, Flotilla offers an interesting alternative to today's indie-rock stereotypes. Just when you think you understand what a song is all about, it shifts and turns into something different. Their sound is hard to put your finger on, which is precisely what makes it so interesting. The band also features the beautiful harp work of Eveline-Gregoire Rousseau and the percussion of drummer Benoit Moniere. Geof Holbrook plays everything from guitars to Fender Rhodes and autoharp. Many of the cuts have the plodding, rhythmic drive of Broken Social Scene, with vocals that could at times even be mistaken for Leslie Feist. On other songs, the band explores a more wispy and ethereal style, with hard-hitting but minimalist beats, and Charnley chirping above it all in a way that can't escape comparison to Portishead.

Once I really dived into One Hundred Words for Water, I had a tough time choosing just one track to share. "Charlie I'm Through" is probably the catchiest song, but they cover so much ground on the album, you should really try to listen to the whole thing, or hear more at their MySpace page.

"Charlie I'm Through" by Flotilla:

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Download "Hurricane" by Emily Rodgers (Right-click or control-click to save to your computer)

Emily Rodgers has one of those haunting, unforgettable voices that radiates with a surreal beauty. On her latest CD, Bright Day, the Pittsburgh-based singer-songwriter pairs her gently plucked guitar with spare, brushed rhythms and strange sonic textures, and soaks the whole mix in a heavy wash of reverb. Despite the album's cheery title, the songs are better suited for grey, wintry afternoons, or a late-night walk through a snowy woods. Though the songs are rooted loosely in traditional folk, Rodgers' voice and the creaky production give it a creepy, slightly more experimental feel. This cut is called "Hurricane."

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