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FREE BONUS TRACK: OVERDONE (anneka remix by XXYYXX):
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XXYYXX is the name of Orlando, FL's 16 year old producer, Marcel Everett. Marcel works out of his bedroom creating harmonious music that provokes emotion and transmits vivid images of peace and still sadness. His music has been featured on XLR8R, The Needle Drop, Earmilk, Indie Shuffle, BIRP and many more.

Boston-based songstress Marissa Nadler has announced the forthcoming release of The Sister, a collection of eight new tracks subtly linked to last year's self-titled critically acclaimed LP, out May 29 on her own Box Of Cedar Records. "Heartbreak is a great muse, but it can wear you down," she admits, referring to the stormy relationships that haunted many of the heavenly hooks on her most recent works. "For The Sister, I realized I had muses all around me, whether it was childhood, betrayal, friendships, new love, nature, or hope. The narrator's stronger in my songs now, and more able to bounce back if they choose to." The dream-folk artist notes that each year she feels freer to write what she wants. On The Sister she keeps her confessionals as intimate as possible explaining, "I wanted the starkness of every song to reflect the lyrical content. Some of my biggest influences are confessional songwriters. It's always been a very powerful thing to listen to Elliott Smith and Joni Mitchell, and feel so much from their stories."

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WIXIW, out June 5, may just be the best Radiohead album since Kid A. In all seriousness, when you listen to the new Liars album — as you should many times over the next week — imagine Thom Yorke's falsetto taking the place of Angus Andrews' less distinctive but no less effective voice amid the barrage of intricate electronics. At times, it's almost as if Andrews is rubbing it in Yorke's face, like in "Ill Valley Prodigies" or the title track. These are the sort of songs disappointed Radiohead fans wanted on The King of Limbs.
The similarities shouldn't come as a surprise. Yorke has long been a fan of Liars, as he told NPR Music's Bob Boilen in this Guest DJ session, and the two bands toured together in 2008. Both groups love to experiment within the rock template — so much so that you never know what their next records will sound like. WIXIW (pronounced "wish you") is Liars' "electronic" record, and a darn good one at that. Whereas Radiohead basically mimicked its favorite U.K. bass producers on The King of Limbs, Liars' productions, aided by Mute Records founder Daniel Miller, don't sound of any particular time or place. That's a good thing.
For those who've read this far and still pine for the dance-punk of 2001's They Threw Us All in a Trench and Stuck a Monument on Top, just skip to WIXIW's penultimate track, "Brats" — you won't be disappointed.

The new Guided by Voices album is the best thing the band has recorded since the last album by the legendary Dayton, Ohio, rockers. That's not meant facetiously: the last thing Guided by Voices did was the rapturously received Let's Go Eat the Factory, and Class Clown Spots a UFO ups the ante raised by that stellar effort, both in terms of recording fidelity (boring!) and songcraft (not boring!) One could argue there's more depth and variety here than on Alien Lanes, that there are better songs here than on Bee Thousand, but that's an argument no one's ever going to win, at least definitively. And this album is a win, by any definition. Class Clown is classic GBV, starting with the head-body-head combination of "He Rises (Our Union Bellboy)," "Blue Babbleship Bay," and "Forever Until It Breaks" before finishing you off with the title track, a ridiculously catchy, melodically complex, shot-through-with-melancholia song that serves as a sadder and wiser riposte to XTC's "Making Plans for Nigel" as performed by The Hollies. And that's just the first four songs of a 21-track album clocking in at just under 40 minutes. We've yet to get to "Keep It in Motion," a propulsive, drum-machine-driven pop song which features acoustic guitars, strings, and Robert Pollard and Tobin Sprout singing together in a way not heard since "14 Cheerleader Coldfront" on 1992's Propeller. Possibly. Nor have we discussed galvanic rocker "Jon the Croc," a clear single candidate, or "Chain to the Moon," one of the saddest and (why not?) prettiest songs Pollard has ever written. In between, you get wah-wah guitar solos, a wide range of unusual recording techniques of varying fidelity and a generous helping of Alien Lanes-style snippets. In fact, the sequencing of Class Clown hearkens back to that landmark LP-as on Alien Lanes, songs bleed into each other, fade-outs segue into fade-ins, short bursts of melodic rock ("Billy Wire," "Roll of the Dice, Kick in the Head") jut against somber chamber pop ("They and Them," "Starfire"). The last song, the anthemic "No Transmission," if played at the proper volume, will in fact blow your mind (and your windows). Class Clown Spots a UFO arrives in June, and we might as well tell you the band is about to finish their third record since reuniting, because you'll find out sooner or later. Bears for Lunch is due in late November. But for now, enjoy the best thing since the last thing and until the next thing after that.

The four-piece have followed their own path since emerging from Fremantle, Western Australia, a few years ago. From humble beginnings of weekend jams to being nominated for a 2011 Unearthed J Award, the band have a natural chemistry, growing organically into their own mold to create their sophomore EP, "Awkward". Following on from their success of their debut EP, "Golden Revolver", San Cisco returned to the recording studio with Steven Schram (Little Red, Little Birdy and Cat Empire) in Melbourne to delve further into the songs they had perfected on stage and in the backyard shed. The finished product is their sophomore EP, "Awkward" featuring five tracks of indie pop goodness, showcasing Jordi's turn of phrase and Josh Biondillo's varied influences in his music writing. In its entirety it is an eclectic mix of indie pop with dashes of rock and slashes of synth. Each member of the band brings a different influence to the table from their diverse and eclectic palate of indie, rap, hip