What a fantastic game.

Who knows whence it came, but I first heard of it here. The essence: use a randomly chosen band name, album name, and album art image to create the next great album. Here are a few of mine.

It seems that minimalist German trip-hop quartet Pfakofen decided shortly before the release of their latest album, Not So Special, that a stylistic change was in order. While a new style certainly could do wonderful things for Pfakofen's tired sound, some preparation would have helped. I hate to break it to you, Pfakofen, but copious echo does not an ambient record make. Hopefully the group will keep working on this new direction, because with some thought, it would make a great record. For now, however, we're left with the muddy echoes of “Principle of Growth” and similarly dull tracks. ✩✩✩

Regumiel de la Sierra has one of the more difficult names to remember, but their sound is unforgettable. The brother and sister team of Miguel and Stella have created a darkly entrancing soundscape on this, their first album. Stella”s voice has a childish, haunting quality that slices through the grungy piano lines and cello ostinatos contributed by her brother. Some of the most notable tracks are “Another Man’s Life” and the lilting “Symphonic Dance”, as well as the near-operatic sequence titled “Cellar Door Suite”. Let us hope that another release of such quality is forthcoming from Regumiel de la Sierra. ✩✩✩✩

Note to the Young Lions: even if you call it electronica, disco is dead. On the one hand, I would be most receptive to a disco album. On the other hand, giving yourselves a modern look does not overshadow the fact that you have a string section the size of Oklahoma and a drummer who learned to play from Bee Gees records. No, not even your clever titles like “Serenity Pounding” and “New York New Pork” can disguise your essential nature: you want to play disco. Accept this, try again, and call me in the morning. ✩

It’s not often that a string quartet has the sort of popular appeal that Chicago group Omakase has achieved in recent years. Taking inspiration from the Kronos quartet, among others, Omakase performs modern works (often written for them) and makes wise use of subtle effects that would make most traditional quartets mute with horror. This particular release is centered around a new work, The Lady of the Lake, composed for the group by their cellist, Richard Jensen. Various “special effects” techniques are used to great success, from the frenetic col legno ostinato in the Largo of the work to the unearthly screeches that second violinist Maddy Parkinson coaxes from her instrument in the gothic-flavored Finale. A wonderful introduction to the group’s work, and an equally exciting record for long-time fans. ✩✩✩✩✩

Sarpsborg, a grunge-thrash group out of Dallas, have made some drastic changes since their self-titled debut a year ago. The political ire for which their songs were known continues on this album, but their sound itself has matured and mellowed significantly. In particular, Sarposborg has released their first ballad, titled “Reigning Insanity”, which is a surprisingly poignant lament for what the band sees as a floundering political situation in America. An unexpected treat is found in “Bang Bang Bang Now We’re All Dead”, a driving and even danceable rant against the injustice of sub-Saharan dictatorships. All in all, a great improvement, but perhaps some non-political songs would be nice. ✩✩✩

Folk rock often falls into the trap of self-parody, what with twangy guitars and complaining raspy singers. Thankfully, Wellsville has managed to skirt the danger yet again on A Giant Mistake, the duo’s third album and their most ambitious. Singer Kathleen Ebbens once again delights with a clear tone and ironic phrasing, but it is the rest of the band that shines on this album. Brad Cronsey milks a pure tone from his guitar, nearly a soft jazz style, and his interactions with Kathleen’s free vocal solos are truly masterful. A mellow sound perfect for lazy afternoons and early mornings, this is a band to watch. ✩✩✩✩

It’s been a while since there's been a decent funk/fusion album, and sadly, the latest release from Seattle’s Institute of Medicine, The Rest of the Week, leaves us still waiting. The band’s leader, Ramòn Guiterrez, has composed some nice tunes here, but the execution tends towards the sloppy. Likewise, there are some decent improvisers in the band, but overall, the listening experience is fairly generic. Good background music, though. ✩✩

Björk! Yoko! Along Comes A Woman! All of them enigmatic female vocalists who take some getting used to — and leaving the other two for another review, Along Comes A Woman is worth the effort. Backed by quirky, chirpy glitch-pop, Along Comes A Woman sings of elephans, libraries, and delicatessens in her distinctively high, sometimes nearly beyond human range, voice. Casual listeners may find her tendency to vocalize without words for extended periods a bit tiring, but this album makes excellent music when listened to intently. The tracks are all fairly similar, however. It’s clear that Along Comes A Woman is capable of more; the question remains why she didn’t put some of it on this album. ✩✩✩

After the tragic death of her entire family to Czech revolutionaries, Soratja Chansrisukot withdrew from both the performing world and human society in general. Now, two years and untold mourning later, here she is again with The Ability to Function a deeply emotional new album. Gone is Soratja’s punk-rock aesthetic; now she brings us haunting songs from her childhood, sung in a previously-unheard soft lilt and accompanied by a minimalist selection of eclectic instruments. Never have tabla, synth pads, muted trumpet, and lullabies been so alluring. The entire album, listened straight through, becomes a cathartic experience for the listener, reminding us of our shared interest in this world; the world family. Inspirational and beautiful. ✩✩✩✩

The Edith Cavell Nursing Scholarship Fund breaks into the music with Mere Excess of Comfort, an energetic but somewhat shoddy first album. The band’s five members seem quite fond of a vintage sound, especially of those features normally deemed cheesy by the mainstream. To this end, many tracks feature the Mellotron, spring reverb, and similarly atmospheric techniques. The style itself is effective, but unfortunately the songwriting falls a bit flat. Joe Lonney, the lead singer, tends to whine rather than sing; to be fair, most of his songs are laments for his love life, so the vocalization is perhaps appropriate. In general, the album shows promise, but other than the truly enjoyable “Under Greener Trees”, listeners may see little reason to purchase the album. Keep an ear out, though. ✩✩

Some listeners find Matane River annoying or tiresome, citing the group’s preference of non-tonal screams and noises to more conventional music. Those listeners should give Matane River another chance with the new album Personification of Nature, for the band has developed a distinctly more melodic sound this time around. The copious angst is still present, but at least it is expressed in a somewhat more musically-pleasing manner. If you are in the camp of wary listeners, try starting with “Left Standing”, a driving but danceable tune with a very catchy synth hook. ✩✩✩

It’s been some time since Predator’s Gold have released any music (other than the infamous bootleg cover of “Penny Lane” that plagued the Internet a few months ago) but it seems to have been time well spent, as their new album, Remember the Spring, is a wholly enjoyable record. Though the band still produces a somewhat messy sound, the exuberant feel of this album is infectious, especially on the album’s poppiest tune, “Drink the Water”. Don’t stop trying, guys, but thanks nonetheless for this fun new release. ✩✩✩✩