"...Brion, a musical mastermind by many standards, recognizes a kind of kinship with [Of Montreal singer Kevin] Barnes. Certainly Barnes is possessed of a similarly manic genius, and as with Brion, he sometimes seem unable to stop the ideas from spilling over. Brion's talents, however, are typically tempered by his own good taste. The unfiltered Barnes, on the other hand, has no such compunctions, which is why the idea of Brion remixing Of Montreal is such an intriguing idea. One idiosyncratic oddball bringing order -- maybe -- to the other's sexy, excessive Id explosion? Bring it on."

[7.2]

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Today we've got the new album from Sweden's Loney Dear, the soundtrack to Afro Samurai: Resurrection by RZA, a wild Clockwork Orange-inspired album from thrash metal kings Sepultura, the new solo album from Omar Rodriguez-Lopez (of The Mars Volta), and more!

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In 2006, singer/lyricist Jake Rabinbach made the ambitious decision to ditch the hustle and bustle of the Big Apple, following the sound of his childhood R&B favorites down to Memphis, TN. Once there, he flexed his musical muscle and quickly caught up with three other full-time musicians -- turning his solo acoustic act into a full-blown Southern frenzy as Jump Back Jake.

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To round out the week, we've got a new batch of free tracks for you, including an exclusive single from Loney Dear's upcoming album, a goofy track from The King Khan & BBQ Show, a classic from The Hold Steady, and more!

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"Get Guilty is A.C. Newman's second solo album, following 2004's The Slow Wonder (and a year after The New Pornographers' Challengers). As in The Slow Wonder, Newman practices a spinning plate sort of complexity, juggling big rock sounds on fragile sticks of melody, heaping difficulty upon difficulty, without a single crash (or even a grimace). It looks easy. It sounds easy. It is not."

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Russian composer Vladimir Ussachevsky, pioneer in the realm of American electronic music, paints a bleak but nonetheless compelling picture in these two 1960s film scores. Setting the scenes for a film version of Sartre's play No Exit and Lloyd Williams's avant-garde Line of Apogee, these scores consist entirely of tape manipulation, at times sounding organic, at others completely alien.

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