To most of the U.S. music buying populace, Australia’s The Church were little more than a one hit wonder, defined by the unassuming brilliance of their 1988 hit “Under the Milky Way.” But the truth of the matter is that The Church’s artistic reach extended years before and long after their time in the limelight. The band withstood their short period of fame and have survived to build a catalog of quality songs unrivaled by most of their ‘80s peers.

If you’re a fan of the original A Nightmare on Elm Street saga, then you’ll want to steer clear of the new cash grab remake and instead focus your sights on this excellent new documentary. Never Sleep Again: The Elm Street Legacy is an exhaustive four-hour documentary (with another four hours of extras!) focusing on the eight Nightmare movies that starred Robert Englund as Freddy Krueger.

Written by a core of six players (Kevin Drew, Brendan Canning, Charles Spearin, Andrew Whiteman, Justin Peroff, and new guitarist Sam Goldberg) and produced by John McEntire (Gastr del Sol, Tortoise, The Sea and Cake) instead of longtime producer David Newfeld, Forgiveness Rock Record represents a different Broken Social Scene than the collective that broke out of Toronto in the early 2000s.

For those who pine for the heyday of shoegaze glory, the dosed spring still flows freely in Dayton, Ohio. Lab Partners have been at it since 1998, long enough to have actually started back when the vapor trails of their antecedents were ruptured but still visible, and their third album, Moonlight Music, plays like a connection to the original bloodline.

If you want a case in point of why comics on the iPad (or a similar device) will never replace good old paper, point people to Viking: The Long Cold Fire, by Ivan Brandon and Nic Klein. Holy jeez, this hardbound, oversized book is beautiful.

When Washington, DC duo Georgie James called it quits in 2008, Laura Burhenn wasted no time in moving on and moving forward. The Mynabirds, named after Neil Young and Rick James’ early Motown band, benefits greatly from her alluring songwriting and singular vocals.

I’m not crazy about the cover dress on The Night Owls, the trade compilation derived from a title running on DC’s Zuda online project. After all, one of the coolest things about The Night Owls is the sort of olde timey feel of it, and the garish orange and full color, oversized renditions of the characters are an eyesore that’s not doing the very good content any favors.

Long Beach foursome Avi Buffalo played a 30-minute live in-store at stalwart local indie shop Fingerprints on Monday night, the eve of the release of the band’s eponymous debut record. Friends, family, and fans gathered to see the band perform seven of the 10 songs from its eponymous Sub-Pop LP.

Robyn Hitchcock’s new album with his Venus 3 (Peter Buck, Scott McCaughey, and Bill Rieflin) was actually recorded in 2006, after the group’s debut, Olé Tarantula, and before last year’s Goodnight Oslo, its delayed release a product of Hitchcock’s simply not having finished the tracks. But Propellor Time rivals the best of his new band’s work.