“And we both know/Love’s not in our hearts” sings the trademark detached androgynous voice on “Stonefist” one last time, you gritting your teeth in anticipation of the instrumental refrain, a heavy and pounding electronic assault of synthesized distortion and kick-snare repetition, a metallic taste in the mouth, a melody, then some strangely, specifically identifiable ‘80s Korg keyboard sound suddenly dotting this weird landscape of Los Angeles warehouses and apocalyptic skylines.

The independent music world can at times seem like a snobbish, closed-off community, dangerously close to drowning in its own pretension. It is increasingly important, then, that it have a few jesters to stir up the status quo.

With a tape deck and microphone, teenage Minnie chronicles her coming of age: her creative blossoming as a young cartoonist, discovery of drugs, and her sexual awakening at the hands of her mother’s skeevy 34-year-old boyfriend (Alexander Skarsgård).

Michael Browning was AC/DC’s manager in its early days, and in Dog Eat Dog, he details his time with the band, as well as his experiences in the music industry before and after.

James Hoare (Veronica Falls) and Jack Cooper (Mazes) blend Twerps’ college slacker rock and The Kinks’ sun-kissed melodies on their second Ultimate Painting album, Green Lanes.

Zarafa is a return to animation in its most glorious form—beautiful, inspired, often laugh out loud, and most of all touching.

Ohio-grown The Lighthouse and the Whaler‘s Mont Royal sounds similar at times to Band of Horses, with hints of Fleet Foxes’ Helplessness Blues.

On Thursday night, Brandon Flowers brought his glorious melody-filled party to Philadelphia.

I Am Chris Farley celebrates the life of a star who self-destructed too early.