TRACKING: Mac Miller - "Goosebumps"

SOUNDS LIKE: Exactly what it aims to be - Globe trotting tastemaker DJ/producer Diplo and indie-to-mainstream rapper Mac Miller stumble into a folky country fair in Southern Bulgaria.

WHY YOU SHOULD CARE: In a rap week defined by mind-bending and intellectually deep releases from Kanye West (Yeezus), J. Cole (Born Sinner) and Miller himself (Watching Movies with the Lights On), in stumbles Diplo into the party with an off-kilter, booming bass-bin rattler sampling Israeli-American folk/funk "Gypsy punk" dance act Balkan Beat Box. At a time when music demands the listener arguably be more mindful than any other time, the Mad Decent label boss' pop confection is a wonderful respite of mindless self indulgence.

Only one album into his mainstream rap career, Pittsburgh emcee Mac Miller is already a man at a crossroads. Debut album Blue Slide Park hit number one for the rapper, selling modestly yet spawning immense touring sales and growth of an already rabid indie fanbase. However, it must be noted that within two years from 2011, 16-year old pop disciples have become 18-year old jaded teens - and Miller clearly felt the need to deliver to his morphing core fanbase. Addled by an addiction to promethazine during his incredible mainstream rise, the latest album is a druggy journey to the heart of a boy-turned-man. 

Every young emcee or producer - from Odd Future's Tyler, the Creator and Earl Sweatshirt to hot producer of-the-moment Flying Lotus (and more) is represented on the album, but it may be Diplo's wacky wonder of a bonus track that provides the release's most apropos listen. If in wine (or drug) we find the truth, then Miller's absurd verbal musings about meaningless sex with groupies - punctuated by a wild hook of "when I die I bet she f*** my hologram" may be the most emblematic song of the top rapper's mental state at-the-moment.

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TRACKING: The Vickers - "She's Lost"

SOUNDS LIKE: The Horrors, Modern day 13^th Floor Elevators
WHY YOU SHOULD CARE: Its not often that we hear a solid single break through from Italy.

The Vickers have a pretty good formula going on with “She’s Lost.” A drum line as if setting the pace for a crash course to the sun, a bass keeping the band on track while adding its own post-punk line, guitars blazing like solar flares, and helium induced vocals to keep on par with someone like Ariel Pink.  Hailing from Florence, Italy,  The Vickers have been reminding psych enthusiasts that great rock can come from more than just the UK and the US.

Touring with acts such as the Joy Formidable and the La’s, the 60’s/90’s brainchild band from Italy are back with “She’s Lost” (released May 14^th) and are looking to stretch their notoriety across the Atlantic. From what they have pieced together on this track, they have a solid chance to make some waves and turn some heads. The band is currently working on a new album with this single included and, if all goes well, will get some tour time over across the sea.

The single “She’s Lost (7” Vinyl Single)” is out now on Cybertree/Foolica Records.

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TRACKING: Bibio – “À tout à l'heure”

SOUNDS LIKE: Father John Misty, Neon Indian, Burial, Four Tet, Explosions in the Sky, and Prefuse 73 got together decided to throw a minimalist party to delight and confuse their fans
WHY YOU SHOULD CARE: Because you like good music that balances experimental and pop, organic and electronic, and keeps you on your toes

If you already know the work of England’s Stephen Wilkinson, a.k.a. Bibio, then you probably know what you’re in for, at least in part; his evolution as a multi-instrumentalist producer continues to surprise and please even his most avid fans. Or, if you’ve never heard of him but are the type to be drawn in by cover art – a seductive holdover from less digital days, still powerful in its record-store browsing allure – you might find yourself happy to find the first few melodies and textures matching the vaguely serene natural-yet-unnatural aesthetics gracing the cover. And you might keep listening, trying to place a finger on what it is you’re listening to and where it is Bibio’s taking you.

The truth is, it’s hard to know; this album is in fact a journey proper. “À tout à l'heure,” one of the more poppy numbers on the album, is a completely non-representative yet wholly compelling glimpse into one small corner of Bibio’s confidently experimental style which many (unfortunately but nevertheless somewhat accurately) refer to as “folktronica.” Layer after layer – from post-rock atmospherics, to folk-acoustic moments, to ambient sounds directly sampled from his surroundings in nature (which greatly inspired this latest album, Silver Wilkinson), to the hooks and sample-heavy indie dance glitch cut-ups that seem to be everywhere these days – Bibio builds a surprisingly cohesive whole that is even greater than the sum of any of its individually great parts.