If you’ve ever wondered how a grasping, needy, desperate plea for love can sound jubilant and life-affirming, you need to hear “Play By Play”. Taken from Autre Ne Veut’s new record, “Anxiety”, Arthur Ashin’s glittering devotional is awash in love and the fear of being apart. The song seems occasioned by a one-sided phone call—the opening cascade of synths could be New Age-y ringtones—a missed connection that turns into an opportunity for a gorgeous voicemail confession. It’s a moment of disappointment we’ve all felt when our loved one doesn’t pick up, but Ashin expands it, dwelling in the separation as if basking in divine grace. Though the low, booming drums almost break out into a thumping techno anthem, the song hovers in orbit, part hymn, part slow-motion panic attack. The second half of the song soars, with Ashin’s lush falsetto multiplied into a chorus majestically repeating, “I just called you up to give the play by play/Don’t ever leave me alone”. Message received.

With “Dropla” and now “Mute,” it is clear that Trevor Powers is trying to create an album distinct from The Year of Hibernation. That album was beautifully mellow and made you want to go out into the world and appreciate every bit of it. However, the first second of “Mute” would not fit anywhere on The Year of Hibernation. It’s more substantial, epic, and chaotic. The melodies are still there and still powerful, but everything else has changed drastically. 2:56 off of “Mute” pretty much sums it all up. There is a certain kind of strength and force present in this track that is unbelievable beautiful and substancial. Powers is making it clear he is not a one trick pony. And with his new LP dropping later in the month, he should have critics praising him all over again, but for completely different reasons.

What was so exciting about James Blake’s debut self-titled album was the amazing voice he kept secret from the world. Blake’s musical career before the LP existed of impressive, well produced, dub beats. Alone, they were exciting and showed promise for the young brit. But when he revealed to the world that he could combine his production skills with an incredibly controlled, unique voice, everything changed. Blake became a superstar. Yesterday, James Blake previewed his sophomore album, Overgrown with the premiere of “Retrograde” on BBC radio. If you still aren’t a believer, let this convert you. James Blake has some of the best pipes around. “Retrograde” shows that Blake can belt just as much as his synths can. I am back on the James Blake train, and I cannot wait for Overgrown to get everyone on board again.

Gorilla Manor was about the struggles of a lonely twenty year old. “Is my life about to change?/ Who knows?/ Who cares?” Hummingbird on the other hand is about the growth that comes after pain. During the process of making Hummingbird, bassist Andy Hamm parted ways with the band. Three months later, lead vocalist Kelcey Ayer’s mother passed away. In an interview with Pitchfork, Ayer states, “Parting with Andy was really hard for us, and then my mom passed away last summer. In a way, it really helped me to process a lot of things, and there are some songs on the record about that. We’ve just grown so much over the past two years…” “Three Months” is a beautiful, slow ballad that give Ayer all the spotlight. “I am ready, to feel you” belts Ayer. His voice has never been this uninhibited. The emotion is completely let out in ways that we did not see in Gorilla Manor. Local Natives have made a less upbeat album — one that may not be perfect for those sunny summer days — but Hummingbird is absolutely gorgeous and more profound than ever.

Lazyeyes is a shoegaze outfit from Brooklyn who are getting ready to release their debut, self-titled EP, Lazyeyes. Yes, Wu Lyf broke up, and they are not coming back. But if “Wait” makes any statement, it’s that Wu Lyf were not the only ones who can make this kind of music. As soon as the snares hit in “Wait”, you are immediately reminded of the vast — epic sound of L Y F. Ok, maybe I am drawing out this comparison a little too much, but I am just happy to know that people like Lazyeyes are able to recreate the kind of magic that Wu Lyf created. “Wait” brings back those summer memories, invigorates you, and fills you with ambition. It’s a pleasant surprise for the shoegaze, psych-rock community.

“Possession”, the new single from Vancouver’s Humans, ticks away like a haunted clock before its freaky, minimalist synths suddenly burst into jeep-rocking beats. A floating, slightly disembodied voice paints a picture of confusion, loss of self, vertigo. Then, just as you think this is another club track playing on the hackneyed idea of “losing yourself” as a metaphor for the ecstatic transports of dance music, the song sheds its booming beats and winds itself down into a spectral murk. It’s not about a state of mind, it’s a story about a real possession; “I can’t find myself” could be the last moans of a man disappearing down a zombie rabbit hole. It’s a witty, fiendishly catchy, club-friendly version of campy, Ghostbox-style occultism. A great start to 2013.

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