For all the great albums that grab the music media spotlight, there’s many more that slip by the warm glow of recognition. It’s not always for lack of quality either, given the huge array of ways we listen to music these days, both online and off, as well as the speed at which we all consume, it’s little wonder that many great releases slip through the cracks. So much music, so little time.

But here’s the chance to take a little pause for breath and reflect at the month that’s been, picking over the best releases that may have missed the love they deserve when first landing. Maybe they were overshadowed by a major label blockbuster, unnecessarily overlooked or misunderstood, perhaps suffered a case of bad timing. No matter the reason for them slipping under the radar, we’ve switched on our musical sonar to help you discover and explore a raft of releases you may well have missed the first time round.

The Antlers – Familiars (ANTI-)

What the hell have we done with ourselves since this band released the stunning Burst Apart back in 2011? Three years is way too long to keep diehards waiting… nonetheless, we made it, and boy was it worth it.

The indie rock quintessence that are Brooklyn’s The Antlers took off exactly where they left off from the aforementioned record, producing a stunning fifth studio release that is heavily laden with all the niceties that set this band apart from the rest.

We are of course talking of the mournful key progressions, twinkling atmospherics that scatter themselves sporadically throughout the record, basic muted guitar work and the band’s signature heart-warming horns. Oh, and how could we forget that utterly flawless creeping falsetto of Peter Silberman? 

Familiars is like taking a plunge into an icy lake, the record is bone-chilling and entirely refreshing, each element sonic element ripples passes you in a carefree manner, the only hard part is coming up for air between each glistening track.  (Joe Harris)

King Buzzo – This Machine Kills Artists (Ipecac)

Stripping the Melvins’ influential Buzz Osborne of the primary weapon in his musical arsenal – his sludge metal layers of droning, distorted guitar – and replacing it with a ‘warts and all’ acoustic guitar might seem like a really bad idea on paper. But in execution, King Buzzo’s debut solo effort makes a lot of sense.

With its title tipping its hat to folk legend Woody Guthrie, This Machine Kills Artists works effectively as both an exploration of a previously unheard dimension of Osborne’s heavy depths and as a literal experiment in deconstructing his prolific musical legacy.

Simply calling the 17 songs here (with characteristic names like ‘Dark Brown Teeth’ and ‘Drunk Baby’) Melvins: Unplugged does Osborne’s intentions a little disservice. Instead, he’s trying to tie the seemingly alien universes of metal and folk together.

It doesn’t always work, but like all good experiments, even the failures here are sometimes the most fascinating.

The latest addition to King Buzzo’s extensive catalogue might not be his most consistent, but in offering a wildly different perspective to his time-honoured style and sound, it’s certainly his most surprising. (Al Newstead)

White Lung – Deep Fantasy (Domino)

Alright, so this record may only spin for 22 minutes, but trust us, that’s all this Canadian punk rock four-piece need to blow your fuckin’ mind.

This is the third full-length release from the Vancouver outfit, jam-packed with a helluva lot of bravado. Fronted by the aggravated Mish Way, whose scathing vocal delivery traces the fine lineage of Courtney Love and Joan Jett, whose vocals feature alongside squealing noise-punk riffs belted out at an unforgiving high-octane punk purist pace.

The gun-shot ‘Face Down’ melts together the high tones of noise-punk and crashing hardcore percussion beats to produce one piece of rockin’ nihilistic art that is not to be missed.

Since you could listen to the entire release three times over within an hour, we recommend you appreciate Deep Fantasy in full, so throw open the windows, turn the volume up and scare the shit out of all those around you.  (JH)

Clipping – CLPPING (Inertia)

For their first label release (Sub Pop internationally, Inertia locally) Clipping’s second full length record CLPPNG makes an ambitious statement. From their opening track ‘Intro’ which features the trio’s MC Daveed Diggs spitfire rapping over a beat-less high pitch screech – you know you’re not in for a regular hip hop release.

Death Grips produce hip hop for punk and metal fans, Clipping produce hip hop for fans of Swans, or the later work of Scott Walker. Or according to the trio, Clipping “make party music for the club you wish you hadn’t gone to, the car you don’t remember getting in, and the streets you don’t feel safe on.” Though challenging, there are still a number of accessible tracks on CLPPNG including the minimalist and angular earworm ‘Work Work’ (starring up-and-coming MC Cocc Pistol Cree).

One of the most impressive feats of Clipping’s follow up is the way producers Jonathan Snipes and Willam Hutson blur the lines between noise and music. From what sounds like a chainsaw providing the backing harmonies in ‘Body & Blood’ to alarm clock beat of ‘Get Up’ Clipping challenges listeners to re-consider how a rap record should defined. (Lucy Dayman)

Lower Plenty – Life/Thrills (Bedroom Suck)

Life/ Thrills is the follow up to local ‘supergroup’ Lower Plenty’s breakthrough 2012 release Hard Rubbish.

Comprised of some of Melbourne’s most admired musicians, including singer/ guitarist Al Montfort (UV Race/ Total Control/Dick Diver) Lower Plenty have given themselves a pretty tough task writing a worthy sequel to Hard Rubbish, and its ever-growing cult status.

Life/ Thrills, the band’s third full length album plays out like the previously unreleased B-sides collection from the Hard Rubbish recording sessions, which for a band admired for their honest, unrehearsed style is not necessarily a bad thing.

The album’s title track is possibly Lower Plenty at their poppiest, riding a strange balance between 1950s blues hit and late night drunken sing-a-long in a particular highlight. (LD)

PHOX – PHOX (Pod/Inertia)

Our ears have eagerly awaited more from these promising Baraboo, Wisconsin kids ever since they broke our hearts with the gorgeous chamber folk-pop of ‘Noble Heart’, and their self-titled debut album doesn’t disappoint.

Recording at the local Wisconsin studio belonging to Justin Vernon, some of Bon Iver’s magic dust has obviously rubbed off on PHOX, displaying a similar emotive intimacy in their songcraft and a detailed sonic palette that makes the most of their six members.

Banjos and clarinets rub shoulders with delicate guitars and dexterous piano in colourful arrangements that brace with the grandiosity of Sufjan Stevens on ‘1936’ and ‘Slow Motion’, but also pitch perfect minimalism in their quieter numbers, like ‘Leisure’.

Tying it all together is the sumptuous vocals of Monica Martin, part jazzy Nina Simone croon, part rubbery Feist-alike – but all heart. Her singing is a rare mix of nurturing and vulnerable yet authoritative – all at once.

Set to be one of the year’s most strikingly confident debut albums, PHOX – the band and the album – are rich in a spellbinding mix of charisma and sophistication. If you’re the kind of listener who nurtures your albums, there’s plenty to love here. (AN)

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