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by Rob Harvilla

April 9, 2013

The Inbox: Brad Paisley, Kurt Vile and More

by Rob Harvilla  |  April 9, 2013

Welcome to The Inbox, a recurring feature in which we take a spin through the week's hottest new releases (along with a bit of Rhapsody's own reviews) and pair each album with the weirdest, coolest, (sometimes unintentionally) funniest stuff we can find on the Internet. Enjoy.

Laid-Back, Transcendent Classic-Rock Troubadour Jams, Like a Kitten Falling Into a Snowbank in Slo-Mo:

Kurt Vile, Wakin on a Pretty Daze
Kurt Vile's fifth album is the ultimate American road-trip soundtrack: It's as sprawling as the interminable highway, as smooth and hypnotic as cruise control. But the singer-songwriter's path is constantly curving in unexpected directions, so you won't even realize how easy -- and how fun -- it is to get lost. [Stephanie Benson]

Fearless, Soul-Searching Country Superstar Willing to Do a Racism-Battling Duet With the Star of an NCIS Spinoff:

Brad Paisley, Wheelhouse
You never know what surprises Brad Paisley has in store, and Wheelhouse delves into some unexpectedly deep topics. Songs about racism ("Accidental Racist," with LL Cool J), spousal abuse ("Karate," with Charlie Daniels) and religion ("Those Crazy Christians") replace the usual country-music themes; there are no songs about trucks, rednecks or knocking back a few. [Linda Ryan]

A Hard-Rock Double-Concept Album, Just in Case You Find This Video of Deer Fighting Insufficiently Badass and Hardcore:

Stone Sour, House of Gold & Bones Part 2
House of Gold & Bones Part 2 is the second installation in Stone Sour's double concept album (which has gone on to spawn a comic book series). Though the two parts were recorded simultaneously, this one is significantly more adventurous and realized. [Justin Farrar]

Epic, Unnerving Techno-Pop Excursions for Those Who Find Human Drummers Inherently Unreliable:

The Knife, Shaking the Habitual
After their Darwin-themed opera, Tomorrow, In a Year, The Knife are back to beats, but don't expect "Heartbeats" or even Silent Shout. Olof Dreijer's fourth-world techno feels like a living thing, the way it writhes and mutates, and Karin Dreijer Andersson's processed hisses and snarls are more unnerving than ever. [Philip Sherburne]

Dream Pop Soundscapes to Accompany Tom Cruise Saving the World for, Like, the Billionth Time:

M83, Oblivion
M83's Anthony Gonzalez finally sees his wide-screen fantasies come true, as he lands a gig scoring Joseph Kosinski's Oblivion, starring Tom Cruise. Working alongside Joseph Trapanese, he turns in a string-swept score as epic as the movie's galactic vistas, thrumming with organ pulses, eerie drones and the broad, arcing melodies of trance. [P.S.]

Moody Alt Latin Grandeur to Help You Sift Through the Emotional Desolation of the Mad Men Season Premiere:

Julieta Venegas, Los Momentos
The first lady of Latin alt pop is back, and she has clearly done some soul-searching on the "alt" side of her equation. With its gauzy electro-beats, smooth synths and distant, almost weary vocals, the sleek, gray-hued Los Momentos practically sounds like it was made by a different artist than the one who crafted the plucky, quirky Otra Cosa. [Rachel Devitt]

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