Snippets of the entire album are available on the iTunes, along with the entire first track, “The High Road.” At this time, we can only speculate the possibility of a tour; if tour dates are set, we will promptly update that information here. For more on Broken Bells, visit brokenbells.com.

As a side note, James Mercer will also be appearing in filmmaker Matt McCormick’s film, Some Days are Better Than Others. The film will be screening at South by Southwest Film Festival, which will take place from March 12–20 in Austin, Texas. More information may be found at somedaysthemovie.com as well as sxsw.com/film. Specific screening dates have not yet been announced.

Music for Lubbock, 1980, the first full release from Asthmatic Kitty artist James McAlister, known primarily for remix and soundtrack work, is a refreshingly bold work of electronic music that still slots nicely into a regular listening slot for those interested in more “traditional” methods of music creation. Of course, it’s closer to a Stereolab than, say, most things you’d hear at a club with flashing lights and pounding music, and some would say it fits well into the growing folktronica movement — regardless, it’s engaging enough for me.

900x – “101805″ (remix) | download
Download audio file (library_catalog_-_music_for_lubbock_-_101805.mp3)

While this album as a whole may lack a bit in coherency — the tracks don’t always mesh with the greatest of ease — they’re individually solid, and the diversity makes for fun active listening. Don’t go into this expecting the latest and greatest in experimental exploration, because it’s not, and I don’t think it claims to be. Don’t get me wrong: Music for Lubbock, 1980 is great from start to finish, and I wouldn’t hesitate to drop into my regular rotation.

Neon Trees

Location Location

The Robot’s Guide to Living

MEN — “Make It Reverse” | download
Download audio file (makeitreverse.mp3)

MEN — “Shake Off” |download
Download audio file (shakeoff.mp3)

MEN on MySpace

Palmer’s Medic — “M-900″ | download
Download audio file (m-900.mp3)

Another beautiful aspect of electronic music is the fact that it can be recorded by most anyone with a musical vision, and it can sound, well, at least okay. In a House, Surrounded sounds more than simply okay, and that, too, is refreshing. There has been obvious time and thought put into this record, and it’s made quite apparent through listening.

Still, the album is a bit lacking in some aspects, despite its easily listened rhythms and well-timed attacks: It seems to suffer a bit from a lack of utter confidence (some might call it hubris) on the part of Hubbard. He’s still producing engaging, interesting music, though, and that’s the real goal, isn’t it? But at times, it seems Hubbard’s looking to really break out, create something epic, loud, and boisterous — but he just doesn’t quite get to that point. Further production — proliferation, if you will — should prove fruitful for this young artist.

That’s another interesting aspect of electronic music, I’d say: Unlike some forms of music, in which simply writing music, scrapping it, and writing more music will serve only to frustrate, music of this nature has a much greater potential to improve over time. You see, with each experience creating this however it might be created, whether it be digitally, un-digitally (I believe they call it “analog”), through some combination, or through some other mean (I think we might have an exhaustive trichotomy here, but who am I to say?) will breed productive experience and skill through whatever mean. It’s not a style in which you can simply practice riffs, get better as a guitarist might; no, it’s a style in which simply doing it is the best method of improvement.

That said, In a House, Surrounded is an impressive undertaking, and it’s one that listeners will find palatable, at the very least. I find it quite palatable — enjoyable, one might say — and that’s certainly saying at least something, I hope.

In the interest of disclosure, I know Seth and find him to be quite a nice guy. In the interest of further disclosure, I have attempted to remain unbiased, and I believe I’ve done alright. Still, I don’t even know the nature of bias, so such an assumption is a bit frustrating for someone with a wry philosophical bent.

Plastic Operator — “Peppermint” | download
Download audio file (02-peppermint.mp3)

Plastic Operator — “Another Sound” | download
Download audio file (08-another-sound.mp3)

Editor’s Note: The track previously included in this post was not written or recorded by Brandon Harrod of Laromlab, who has recently come forward and admitted to having essentially stolen the tracks and called them his own. More information is available at www.mushpotrecords.com.

That’s a brave question, isn’t it? I thought so. So often my questions are lacking in, well, braveness, so I thought I might give it a try. Still, I’m not sure how brave it really is, though, as it is still a question and not a bold statement. After all, I’m willing to admit some wrong in this.

Anyhow, I’ve been venturing into electronic music lately, as it has been something I’m woefully under-educated in. My good friend Derek, a veteran (of sorts) of electronic music, has been instrumental in this, and perhaps we might call him the catalyst. At any rate, It’s happened.

Above all else, I’ve found chiptune to be interminably interesting in a way few things are. Perhaps it’s that I was raised with videogames by my side, or perhaps it’s the interesting histori-social implications of creating new music with old technology: Either way, I’ve been enjoying it, and that’s what really counts, isn’t it?

I previously discussed chiptune in my column-review of The Depreciation Guild (it includes an mp3, so give it a quick listen. They’re one of the most interesting shoegaze groups I’ve encountered in recent times,) so I’m no stranger to the diverse field. Newcomer, maybe, but no stranger.