Every Local Release

LOCAL BANDS

Antoine Martel, "4 of 5" (out now, self-released, antoinemartel.bandcamp.com): Martel, a Seattle native who's studying music at Montreal's McGill University, isn't exactly forging new territory on this single from the forthcoming Coughdrops in Autumn, but it's nevertheless a pleasantly lilting, sing-songy folk tune. ANDREW GOSPE

Brandon Torres, "Feed My Soul" (out now, self-released, facebook.com/brandontorresmusic): This nearly 21-year-old singer/songwriter encompasses a classic-rock-folky feel with nothing but his guitar and some impressive vocal chops. JOE WILLIAMS

* Foreign Friends, Maps (out now, self-released, foreignfriends.bandcamp.com): This electro-pop duo's second EP release in the past six months finds them broadening their sound—think brooding, new-wave synth pads with the expansive ambition of someone like M83. Maps also includes two effective remixes of standout track "Magnets," one from Seattle producer Futurewife. AG

* Hot Bodies in Motion, Principle A (out now, self-released, hotbodiesinmotion.com): To be sure, Hot Bodies singer Ben Carson absolutely can howl, and he and his bandmates are skilled, nimble musicians. But the true stars here are the songs, skillfully composed three- and four-minute pop tunes dressed up in a blues-and-soul veneer, with just enough grit to balance the band's overwhelming slickness. AG

* Lusine, The Waiting Room (2/19, Ghostly International, lusineweb.com): Jeff McIlwain writes film scores in addition to producing cerebral electronica as Lusine, and his eye for composition shows on his third Ghostly International full-length. The Waiting Room is an intricate, insular release, blending evolving synth textures and jittery IDM beats with live vocals (and, on the excellent opener "Panoramic," live drums) across 10 slow-building tracks. But McIlwain doesn't let fussiness obfuscate his songs; several, including the single "Another Tomorrow" and a cover of Electronic's "Get the Message," are clearly dance-floor-ready. By the arrival of the closer "February," a deep-house cut reminiscent of Axel Willner's work as The Field, McIlwain has veered from chin-scratching to hip-shaking, merging both into a coherent whole. AG

Plateau, Everything Was Sweet (out now, self-released, plateauseattle.bandcamp.com): Garage-poppers love Big Star almost as much as they love the '90s. CHRIS KORNELIS

* The Redwood Plan, Green Light Go (2/15 Fish the Cat Records, theredwoodplan.com): The second album from this new-wave quartet finds the band blasting through high-energy electro-pop with nary a rest in sight. Singer/keyboardist Lesli Wood's buoyant melodies dance above the band's staccato guitar lines and electronic drums and her husband Larry Brady's melodic bass patterns, giving the record a bouncy immediacy akin to new wave's punk undercurrents. DAVE LAKE (Fri., Feb. 15, Neumos)

* The Soft Hills, Chromatisms (out now, Tapete Records, thesofthills.com): This quartet's latest pays as much attention to the songs' gorgeous textures as to their pop melodies, zigzagging across styles from shoegazer to Beatles-y pop in a haunting, dreamlike meditation. DL

Wild Wants, We Are Committed to Excellence! (2/13, self-released, wildwants.bandcamp.com): The new solo project of former Western Haunts bassist Derrick Wright is wildly different from his old band's folk/shoegaze hybrid. Here, Wright deals in ramshackle indie-pop tunes, his winsome, clever lyrics meshing nicely with the record's homespun production. AG

music@seattleweekly.com

 
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