Bloc Party, Blood Brothers, SSM, Maria Taylor

BLOC PARTY
Surfacing in 2005 during the most recent explosion of British post-punk, Bloc Party outpaced similar bands like the Futureheads and Maximo Park with their menacing and intelligent approach to the genre. On first listen their debut from that year, Silent Alarm, is satisfactory — but with each listen it simply grabs a hold of you and won’t let go. Two years later, the immensely more popular band has released their follow-up, A Weekend in the City, receiving mixed reactions from critics and fans while quickly becoming this young year’s “love it or hate it” record. On Weekend, the band continues to explore social themes and the perpetual struggle in love, but this time their quest comes with a noticeably higher commercial appeal. A Weekend in the City isn’t nearly as impressive as Silent Alarm, but it isn’t despicable either. Despite the minor setback (and planned tour last year with Panic! At the Disco that was thankfully cancelled), Bloc Party remains a fascinating and hopefully prolific act. (Appearing with Albert Hammond Jr. at the Congress Theater on March 23) –text: Garin Pirnia

BLOOD BROTHERS
Six years after dropping their debut, The Blood Brothers now release a fifth record: Young Machetes. Released last October and co-produced by Guy Picciotto of Fugazi, it continues to blur punk, hardcore, and indie rock stylings, refusing to allow any one genre to limit the music. Although aspects of the Blood Brothers sound have evolved over time, many of the songs on Machetes are reminiscent of the band’s earlier chaotic style. This style is characterized by their two lead vocalists screaming angst-filled lyrics (often tinged with politics and social commentary) over heavily distorted guitar power chords and other noise. The experimental Seattle band employs piano, organ, and laptop technology to create more diverse and interesting sounds — and like all good experiments, the end result is far from certain. (Appearing with Celebration at House of Blues on March 25) –text: Ariel Sundel

SSM
In a town where rock comes from garages, techno comes from warehouses and car production comes from…well, China now, we are lucky to have such exports as SSM emerge victorious. Yes, Detroit’s assembly line of indie rock and electronic pioneers has sputtered out another quality American-made trio — this time consisting of the best of both of Detroit’s recent musical heritages. Featuring jangly blues guitar, frantic drumming and psychedelic keyboards that mix fuzz with electronica, SSM (Syzmanski Shettler Morris) further reinforces the often-discussed theory that the Detroit music scene was taken over by aliens after the fall of the Motown dynasty. Think about it. Expect distorted guitars, distorted keyboards, distorted drums, distorted distortion pedals…you get the idea. Just don’t be surprised if you see a distorted spaceship (Ford Taurus?) parked out front. (Appearing with CoCoComa at Empty Bottle on March 23) –text: Billy Kenefick

MARIA TAYLOR
When great musical duos split to go solo, sometimes listeners lose. But other times they reap greater musical delights. An example of the latter: the solo careers of Azure Ray’s Orenda Fink and Maria Taylor. Following 11:11, her sensational 2005 solo debut, Taylor releases Lynn Teeter Flower on the Saddle Creek label this month — treating fans to a collection of absolutely sumptuous songs distinctively her own. Yes, it seems impossible to separate her melodious voice from Azure Ray — especially on tracks such as “A Good Start” — but Taylor soon reminds us (as she has been working with Moby, Bright Eyes and others) of her ability to stand strong on her own. Highlights include the easygoing guitar and vocals of “Clean Getaway”, the static and haunting piano-dominated “Replay” and the poppy electronic number “Irish Goodbye.” Taylor’s distinctive voice and musical prowess delivers throughout this gentle yet powerful album. (Appearing at Beat Kitchen on March 23) –text: Jen Fischer–photo: Laurie & Charles