Dawn Landes, 'Fireproof' (Cooking Vinyl USA)
On her second solo album, Dawn Landes scurries out from behind the boards (she's worked as an engineer for Philip Glass, Ryan Adams, and Joseph Arthur) and uses an arsenal of thrift-store noisemakers (glockenspiel, accordion, cheap guitar) to convey her quirky songs.
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Howlin Rain, 'Magnificent Fiend' (Birdman/American)
This project from Comets on Fire leader Ethan Miller specializes in the kind of trashy white-boy R&B practiced by everyone from Humble Pie to the Black Crowes. Despite literary ambitions -- Miller cites novelists Michael Moorcock and James M.
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Flogging Molly, 'Float' (Sideonedummy)
As much as Flogging Molly's spirited Irish punk brings to mind the Pogues (as well as rowdy pub elders the Dubliners), the Los Angeles septet are as notable for their non- Celtic influences.
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Mlle Caro and Franck Garcia, 'Pain Disappears' (Buzzin' Fly)
For the past few years, minimal German dance music, with its fierce emptiness and slim rhythms, has been a scene with untapped crossover potential. And Mlle Caro, DJ at Paris' renowned house-music club Rex, and Franck Garcia, a producer/DJ based in the south of France, take advantage of the hypnotic genre's possibilities.
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Cadence Weapon, 'Afterparty Babies' (Anti-)
An able MC who occasionally seems too indebted to indie hip-hop convention -- multiple clever allusions per verse; using 20 words when five will do; and the need to crowd in discordant, annoying sounds -- Canadian blogger/Pitchfork writer Rollie Pemberton might have a killer crossover album in him someday.
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Born Ruffians, 'Red, Yellow and Blue' (Warp)
Since the early '90s, indie rock has been rapidly assimilating and responding to its own




