The Inbox: Yeah Yeah Yeahs, Ghostface and More

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.

Electrifying Post-Punk Anthems So Good They'll Survive This Record Appearing on "Worst Record Covers of All Time" Lists for Decades to Come:

Yeah Yeah Yeahs, Mosquito
On the YYYs' fourth album, Karen O sucks your blood, imagines she's an alien, dreams of being buried alive, and gets caught without her MetroCard. And like the lonely night in N.Y.C. she sings of on the train-track-thumping "Subway," Mosquito feels dark, menacing and claustrophobic, but never lacking in around-the-corner suspense. [Stephanie Benson]

Dancehall/Pop/Trap/EDM/Whatever Jams Even More Electrified, Celebratory and Inspiring Than the Guy who Caught a Foul Ball in His Beer and Immediately Guzzled the Whole Beer:

Major Lazer, Free the Universe
Major Lazer's music has always been concept-focused. It revolves around an imaginary commando avatar, after all. But on Diplo's second album (and it is just Diplo now) of DJ-fried dancehall, the concept may have overpowered the music. [Rachel Devitt]

Triumphant Pop-Punk Comeback Jams With, as Always, Ridiculously Long Song Titles:

Fall Out Boy, Save Rock and Roll
Do Fall Out Boy actually save rock 'n' roll? That depends on your definition of rock music. The band does rawk, at times; yet most of the record's high-energy stomping-n-bopping is far more rooted in club pop, electronica and Eurovision-style histrionics. [Justin Farrar]

Gritty, Cinematic, '70s-Soul-Drenched Rap Grandeur That Details Revenge More Deliciously Than Anything Since, Well, Revenge:

Ghostface Killah, Twelve Ways to Die
This album tells the story of Tony Starks, a New York drug lord waging a losing war against the Lo Duca family. It's a weird concept made spookier by Adrian Younge's rusty '70s soul arrangements; a musician best known for his work on the Black Dynamite soundtrack, Younge complements Ghostface and the rest of the Wu. [Mosi Reeves]

Effortless Country, Jazz and Pop Standards as Delivered by an American Icon Handling the Fact That He's Turning 80 Soon Better Than Other People We Could Mention:

Willie Nelson, Let's Face the Music and Dance
Willie Nelson's strong suit may not be vocal standards, but as an 80-year-old man he's entitled to do whatever the heck he wants. Let's Face the Music and Dance is a handpicked clutch of country, jazz and pop classics -- essentially the music he and his sister, Bobbie, grew up with in the '30s and '40s -- plus a reworked original or two. [Linda Ryan]

Genre- and Era-Spanning U.K. Pop Debut From Our New Second-Favorite Olly:

Olly Murs, Right Place Right Time
U.K. star Olly Murs makes his introduction to the U.S. with a little tour of American pop music. The opener marshals sweeping strings and martial beats into a bit of musical theater. Then Right Place segues into '80s pop ("Heart Skips a Beat"), '70s disco ("Troublemaker") and '60s R&B (the malt-shop cute-fest "Dance with Me Tonight"). [R.D.]

Afro-Funk Exuberance That May Inadvertently Remind You of a Beloved '70s Sitcom:

Chico Mann, Magical Thinking
A gauzy, woozy haze of ambient beats and blips settles over everything, giving this album the feeling of being stoned at a disco. But funk hovers at the edges and corners of sauntering, syncopated rhythms and lightly salty guitar riffs on tracks like "Same Old Clown" and the rolling, rollicking thunderstorm "Estrellitas." [R.D.]

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