If anything can keep full-length albums chugging along, it's their unrivaled ability to capture the confusion of committed relationships. Musicians as a whole tend to find themselves in precarious romantic situations, with many a fine album spun from the rough wool of love gone sour. With her fourth album, Canadian singer-songwriter Kathleen Edwards examines just such a connection from start to finish, with production from Bon Iver's Justin Vernon. From the gentle, folk-pop opener "Empty Threat," to the eerily familiar Sheryl Crow-like rocker "Mint," to the hopeful, rollicking "Sidecar" and finally the indie-Americana slow-jam summation "For the Record," Edwards admirably looks for answers, finds precious few, and decides to move on, as we all must.
The debut record from young NYC-based electronic producer Alec Feld is an exercise in sleek euphoria, one that displays the dance disciple's respect for the sanctity of the house beat while diagramming various methods for its subversion. Like fellow producers Matthew Dear and Caribou, Feld pulls off the familiar-yet-unpredictable trick in his synthetic manipulations, crafting a concise series of breakdowns and ear-pleasing backdrafts of sound.