Shabazz Palaces
Black Up
(Sub Pop)

Second acts are rare in hip-hop, but almost two decades after Ishmael Butler burst onto the scene with Digable Planets, he’s reclaimed the spotlight as leader of the remarkable Shabazz Palaces. He raps that the group brings “dynamic electromagnetic styles,” and that’s an understatement. Their unique sound is anchored by overblown, buzzing bass and woozy slivers of piano, strings, backing vocals and electronics. It’s hard to think of another hip-hop act that could include a prominent thumb piano solo and make it sound utterly natural. Rather than typical verse-chorus-verse structures, the songs favor digressions, diversions and addendums. While Black Up isn’t as instantly compelling as the group’s two excellent EPs, it’s full of remarkable tunes. Butler ably navigates the abstract soundscapes with charisma, laid-back charm and skillful flow, making the fragments sing. —Jeff Jackson

Howler
America Give Up
(Rough Trade)

Thanks to such a provocative title and acclaim pouring in from the English press, one would think this debut is a product from across the pond. Instead, the lads of Howler hail from Minneapolis with a sound that is distinctly Californian circa 1962. For evidence, look no further than opening cut “Beach Sluts,” which resembles a fuzz-tinged surf nugget that charms with its handclaps and lyrics about “wasting time.” “Back Of Your Neck” boasts an intro twang that would make Buddy Holly proud. And “Back To The Grave” evokes noise-pop icons The Jesus and Mary Chain with an impossibly deep lead vocal and chorus of “wooh, ooh, oohs.” Unfortunately, one comparison Howler has had trouble shaking is to New York garage rock revivalists the Strokes. But there’s no resemblance. The party here is 100 percent beach, not street. —Michael Cimaomo

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The Sun Parade
Yossis
(Spirithouse)

The Sun Parade is a well-named band—there’s something unavoidably sunny about the group’s aesthetic. ‘Seventies rock seems to run through the group’s veins, but only in the small details of vocal style, say, or the rollicking, even carefree feel. This is guitar-based music, often resting on acoustic guitar melodies and a bed of strummed rhythms. The well-delivered and pleasantly unhinged vocals—ranging from a gritty shout to falsetto harmonization—push Yossis into full flight. This is music that cheerfully proclaims “I’m broken” amidst handclaps, that sunnily explores dark corners. Such sophisticated, rewarding songcraft would sound right at home in a wood-sided station wagon in southern California, but don’t look too closely: the final destination doesn’t seem to be a beach party. —James Heflin