Fleet Foxes new one is a bit different from their debut. The production is vastly different. Robin Pecknold’s vocals sound extremely different (not to mention the lyrics, which a friend equated to being similar to those found in his high school journal), having been honed and crafted whereas before they sounded a bit raw at times. But what remains the same is Fleet Foxes ability to create a great sounding song.

Seattle garage rock outfit Tea Cozies boasted production by Erik Blood on their 2009 release Hot Probs. They’re back with a sound that’s really, really good. Listening to their new single, “Dead Man’s Sister”, I can’t help but think of current hot bands like Best Coast, La Sera, and Dum Dum Girls. These ladies and gents fit the mold, with light fuzz meets heavy reverb, dreamy vocal melodies meet punchy guitar riffs. What’s stunning, however, is that “Dead Man’s Sister” holds in it an originality that …

Helvetia return with On The Lam, pumping out several new psychedelic tracks blending pop and rock very much in the style of the Pacific Northwest. The title track is among the more notable tunes on the album, beginning with a simple pop guitar melody, handclaps, and a consistent beat. Like the melody, the vocals are soft and borderline playful, albeit with a hint of emotion. By the end, the song tailspins into a hazy psychedelic swirl, launching straight into the similarly vibrant “Arise Pt. 1″. The latter, …

The Cave Singers are back with their third LP, No Witch, an album that promises great things on the tail of two already widely renowned releases. While only two songs have graced my ears thus far, it’s clear that the Seattle band continues its steady pace of creating phenomenal tunes.

One of the first lines you will hear on Lindsay Fuller’s beautiful, lyrically-based album The Last Light I See is: but every tale needs a villain so I signed myself up. And it pretty much gets even more awesomely depressing (yet also enlightening) from this point on. This Seattle artist has a style that is somewhere mixed in with the anger of Ani Difranco and the sad storytelling soulfulness of Traci Chapman. But, her stories are way cooler. Though riddled with beautiful piano solos and wonderful …

A few days ago I wrote a piece on Beat Connection’s new LP, Surf Noir, which coincidentally went live a few hours ago. Shortly after wrapping that piece, I discovered their video for “Silver Screen”, crafted by Seattle’s DUMB EYES. Peruse DUMB EYES’s library of videos and you’ll find some pretty trippy stuff. But none, in my opinion, top their work on “Silver Screen”. Dizzying, kaleidoscope-like footage blended with video of the Beat Connection duo is what we get. That and a lot of flashing …

They call it “chillwave,” a term that has come to define this style of electronica meets psychidelia. The term is fitting, and of late has come to encompass a different side of beach-style pop thanks to the various effects and loops involved. It’s all quite hypnotic. I think the first band fitting the bill (the bill being beach-worthy chillwave) I really got into was Washed Out. Neon Indian followed, but with more experimentation. So the style has become prevalent of late, and Seattle band Beat …

My buddy Jon wrote in an email to me yesterday: “Hey Andy, did you see this yet? That’s your ride too, right?” Sure enough, he linked to this great article from Michael Lerner on Aquarium Drunkard talking about his 1976 BMW 2002. Part of AD’s Diversions column in which artists talk about a passion outside of music, I simply felt compelled to leave a comment.

There’s something about the music Virgin Of The Birds creates that is seemingly timeless. It’s absolute, in the present, yet it hints of a time long past. Perhaps it’s the simplicity of the songs, with poppy guitar melodies and an ever consistent percussion. The songwriting is where complexity dominates; a lyrical prowess filled with story-like mystery. This mystery has dominated the library Virgin Of The Birds has built. And you can hear it thoughout “They Wake”.

BOAT is prepared to release their fourth album, Dress Like Your Idols, in March and we have here the first single from that album. The song is called “(I’ll Beat My Chest Like) King Kong” and it maintains BOAT’s wild throaty vocals, packed with a seemingly self-deprecating sarcasm and a penchant toward pop culture. It maintains those rockin’ guitar riffs and bouncy percussion. It maintains all those lovable rock hooks, catchy as all hell. Yet it’s slightly different from their past three releases — it’s more …