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Lissy Trullie – Lissy Trullie, March 6
A throwback to the days when buzz was garnered not by being re-branded into a gangster Nancy Sinatra by studio execs, but by dressing like a pixie-cut Julian Casablancas and being friends with The Virgins, who, apparently, were very hot in 2009, when Trullie first broke into the limelight with a five-song EP (which included a near-perfect Hot Chip cover, if you recall). Now we'll find out what she's been up to for the last three years.
The Magnetic Fields – Love at the Bottom of the Sea, March 6
Something tells us Stephin Merritt has been sitting on the title Love at the Bottom of the Sea for years. Consider it a return to form, they say, with he and his usual cast of collaborators re-joining the Merge roster and restoring synths and acoustic guitars to their repertoire. A sampling of the tracklist: “I’ve Run Away to Join the Fairies.” “All She Cares About Is Mariachi.” “I Don’t Like Your Tone.”
MGMT – title tba, second half of the year
There's not too much information circulating about where the famously Brooklynized duo's heads are at in terms of sound and influence after they endured a bit of a backlash (undeserved, wethinks) for their whacked-out sophomore album, but, as proven by their recent performances at the Guggenheim, they still have a thing for psychedelia. So we have that.
Oberhofer – tba, first quarter of the year
Oh, hey, it's Brad Oberhofer, that 21-year-old kid with uncanny talent for recasting oddball pop songs into jittery post-punk. When we last spoke to him, he had just finished recording his debut full-length for Glassnote. He unassumingly namechecked Tchaikovsky's Symphony No. 6 as nightly listening material, got excited at the prospect of people hearing his re-worked demos, and expressed concern for how he'll translate the string components into a live setting.
Of Montreal – Paralytic Stalks, February 7
Paralytic Stalks's first taste comes in the form of "Wintered Debts," a song ridding the band of ringleader Kevin Barnes' unfortunate obsession with funk. Instead, the strummy guitar that introduces the track quickly fades away, and Barnes finds himself in Sgt. Pepper la la land before eventually falling into a rabbit's hole of quiet, wintry orchestrations. And then when you think the song's finished, it's not. It's ridiculous, and also awesome.