Lars Gotrich

Terry Riley's In C might be considered one of the seminal pieces of minimalism, but at its heart it's an open invitation. The score resides on a single sheet of paper with 53 phrases to be repeated by an indefinite number of musicians.

Sonic Boomerang: Is that, like, Sonic the Hedgehog's new weapon? A new shake from that burger drive-in? Psychedelic punk-rock whipped into the abyss and returned with aerodynamic force?

Haley Fohr meditates on existence with telescopic ears and eyes. In the decade since she began Circuit Des Yeux, Fohr has mapped herself onto a world alone, seeking connection through music that rumbles in tandem with her oaken baritone.

If you stare into darkness long enough, your eyes adjust to the hidden corners, and begin to understand that whatever lurks was always there... waiting. Azar Swan's first two albums roamed in these corners of industrial-pop, inspired by Coil and Front Line Assembly, hypnotic in bleak and cutting electronics co-produced by Joshua Strawn and Zohra Atash, whose breathy-but-forceful vocals center the duo's music.

Pinegrove's Cardinal was a messy and charming debut that felt with exacting detail. There's a sense of restlessness in it, run through the twinkly pangs of emo-twang. Go to any live show, or just watch the band's Tiny Desk Concert, and the crowd's sing-alongs are more than just mouthing to their favorite songs — it's living them.

Marisa Anderson doesn't just play guitar — she sinks into bends and lingers over melodies, knowing when to light a fire under her fingers and when to wind like a creek. In 2013, she caught my ear for the first time with a pair of records — the raw and dusty Mercury, and the functionally-titled Traditional And Public Domain Songs.

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