I don’t dance. I’m an arrhythmic white girl whose main goal—at most events—is to not put an eye out with my pen or notebook. Although, I’d be lying if I didn’t admit to getting my (very) awkward groove on at last night’s Friendly Fires show. For the record: no writing utensil related injuries were sustained.

All that time in The Melvins is starting to rub off on the Big Biz fellas, as they seem intent on perversely sidestepping expectations. This one’s going to divide the fan base, no doubt. Many will see welcome growth; others will wonder what the hell happened. You could do bullet points on the changes (or infractions, depending on your ears).

Many children of the ‘80s and earlier no doubt read the comic strips in their parents’ Sunday newspapers. Most of the strips were mildly amusing at best (with the exception of The Far Side and a couple of others) and some were downright lame (Family Circus, anyone?). Sometimes there would be a Spider-Man or Superman strip that was tailored more for a mainstream audience than the diehard comic book fan. With Wednesday Comics, DC has reinvented and revitalized the comic strip.

The Low Anthem’s Oh My God, Charlie Darwin might begin with hollowed, harmonized croons fronted by a stunning falsetto in the opener “Charlie Darwin,” but don’t be fooled: By the fourth track, “The Horizon is a Beltway,” the Providence-based trio is knee deep in gravelly vocals, roaring harmonica runs, and shouted choruses.

Whereas most of the main characters on teen dramas like The O.C. or Beverly Hills, 90210 seem to be pure of heart but, like most real-life teenagers, prone to mistakes, the Gossip Girl group doesn’t have the same set of morals. This is the show’s stroke of genius, and what makes it the most fun to be found in primetime television.

Quentin Tarantino never met a genre he didn’t like, and nearly every movie he’s made thus far has been his own reworking of that specific style of film, whether it’s Reservoir Dogs’ heist film, Jackie Brown‘s blaxploitation or Death Proof‘s car chase movie. So in that spirit, it’s best to think of Inglourious Basterds as his foreign-language WWII Spaghetti Western.

This quickie pairs “Last Choice,” one of the finer moments from Love Is All’s last full-length A Hundred Things Keep Me Up At Night, with five new tunes. Wyatt Cusick, who recorded the full-length, is also at the boards on the new songs, helping ensure the reverb-laden, raw garage attack that makes Love Is All’s punked-up pop tunes work so well.

The comical sci-fi miniseries is written by David Tischman (Bite Club, Greatest Hits), with art by Philip Bond (Grant Morrison’s Kill Your Boyfriend, Vimanarama) and David Hahn (Fables, Marvel Adventures: Fantastic Four).

Björk fans would be wise to clear room off of their shelves as another multi-platform collection from Iceland’s favorite pixie has been released. Voltaic is a gathering of material spawned from the release of the artist’s seventh full-length album, Volta. The centerpiece is a live album that features recordings from tour dates in Paris and Reykjavik.