Fleet Foxes – Helplessness Blues
Helplessness Blues is comparatively deeper, more intricate, and more complex, a triumphant follow-up to a blockbuster debut. Working again with producer Phil Ek, they’ve crafted a cavernous record that allows more room for them to breathe and stretch. The album’s longer, episodic cuts contain disquieting shifts in tone. “The Plains/Bitter Dancer”, for example, begins as a spindly, psychedelic folk tune reminiscent of some of the Zombies’ more introspective moments, and then, after a brief pause, bursts suddenly into the type of gangland chorus Fleet Foxes have practically trademarked by now. Read the full review on Pitchfork

Beastie Boys – Hot Sauce Committee Part Two
What makes “Hot Sauce” so vital is that the Beasties sound hungrier than most musicians currently posting their first Internet demos. This is vintage Beasties, all exuberant pass-the-mike battle rhymes and gritty break-beats so funky, it’s near impossible not to head-bob through the entire record — or slam dance, as the hard-core thump on “Lee Majors Come Again” so inspires. These aesthetics prove not so much dated as timeless: The Beasties don’t sound as if they’re repeating themselves as much as creating fresh grooves with a sensibility that’s proved enduring. Read the full review on LA Times

Bill Callahan – Apocalypse
One of his most remarkable tricks– and one he returns to all over Apocalypse– is the ability to sound both controlled and casual at the same time. The songs here are filled with silly, borderline bad ideas that an artist with less confidence might’ve scrubbed after taking a long walk and a good rest. “Baby’s Breath” speeds up and slows down in a way that sounds unrehearsed, devolving into distorted guitar toward the end. The sloppy backing track on “America!” quotes what sounds like Civil War songs and 50s jungle-rock. (It also casts Johnny Cash and Kris Kristofferson as part of an imagined U.S. military force and ends on an acidic joke about American imperialism: “Well everyone’s allowed a past they don’t care to mention.”) A few songs feature, prominently, the flute. Read the full review on P4k