The exquisite "Opposite Island" is one of those songs that keeps beckoning back for another listen just to prove, again and again, that, yes indeed, it's as great as we think it is. Written and performed by pixie-ish L.A. songstress Jenny O., the track is part bedroom piano/pop simple (for anyone with a piano in their bedroom) and part stunning theatrical showstopper, a pin-drop quiet ballad that's transformed into what we've described earlier as "something beautiful beyond words." While Jenny's girlish vocal charms play up the song's tender lyrical confessions of "a long day" and "a bad night" leading to something hopeful, "Opposite Island" is a song that resonates as a deeply affecting modern pop standard. Check out the lyrics after the jump. More on Jenny O. and her fine Automechanic LP on DC here.

A mix of both confessional reflection and spiritual observation -- all rendered with one of the most achingly lovely voices --  Frally Hynes' exquisite 2010 album The Light prevailed as one of our favorite albums of the year, one that we described as an "inspired masterwork of sensitive, sensual songcraft." Long-awaited new album, Apis Mellifera (Latin for "honey bee"), is yet another rare gem. Working again with multi-instrumentalist/producer Jeff Hill (Rufus Wainwright), Frally again taps into themes of redemption, relationships and renewal, Hill and a superb band adding subtle backing -- and an occasional buzz of electricity -- to songs that span chamber pop grace ("Peace"), melancholic mood pieces ("Devil") and tender folk ballads ("Take Your Time"). Tracked live in the studio, "California" (listen below) is a glorious country-tinged campfire classic, Teddy Thompson adding vocals and sweet harmony to a slow dance of pedal steel and acoustic jangle. "By Chance" carves out new space in her impressive repertoire, a slow-paced alt-pop minor-chord dirge that quietly builds it's own shadowy twists and turns, the tension of frayed electric guitar riffs sustaining an interesting counterbalance to Frally's vulnerable vocals and the chiming piano notes in the bridge.

Maybe it's the chilly Scandinavian climate and legendary cool  demeanor but Sweden's Ef sure know how to warm things up without getting too, well, sentimental in their quest for arty chamber/pop and post/rock grandeur. Everything sounds as big and crisply detailed as the starry winter night sky, a curiously compelling musical mix that echoes Sigur Ros, Explosions in the Skyand a touch of Denmark's orchestral wonders Efterklang. The band has been quietly been creating their lengthy, mostly instrumental compositions for a decade and new album Ceremonies (September 6) promises an even greater cinematic-sounding refinement with regal guitar lines, horns, strings, synths and thundering rhythms -- along with a stately vocal or two adding a little accessible icing to the cake. For a gloriously rich preview check out lead track "Bells Bleed and Bloom". More music on their Soundcloud.

Self-produced fourth full-length from Tyler, Texas' all-in-the-family band Eisley finds the four siblings (and a cousin) further refining and expanding their sound. A mix of off-kilter but melodic pop choruses and a dollop of arty indie rock, Currents (May 28, Equal Vision) is both smart, adventurous and, says the band's Sheree Dupree-Bemis, "honestly the first time we’ve had total and complete free reign over the making of one of our records and it felt so liberating." Referencing the album's title, she adds, "The current is constantly moving and flowing no matter what and that’s what we’ve always done together and plan to keep doing.” New track "Drink The Water" displays the band's confidence in experimenting in the studio as interesting rhythmic time signatures, an angelic vocal chorus, darting orchestration and a haunting piano hook combine in a swirl of dense production. Stream the title track after the jump...

L.A. singer/songwriter Cary Brothers teams up with the always wonderful Garrison Starr for "Disappear," a new song lifted from Brothers' recently released EP Let Me Be. The self-described "therapy record" following a painful breakup contains five new songs and is Brothers' first collection of new, original music since 2010's Under Control.

Fifth full-length Trouble Will Find Me from The National finds the critically acclaimed Brooklyn band arriving at a new inner-peace mindset that probably owes more to sheer exhaustion -- tours, children -- than anything else. Not to mention the re-immersion into the deep pool of classic songwriting from the likes of Neil Young, Roy Orbison and Cat Stevens that has brought their songs a less mannered more direct focus. The creative tension that accompanied the recording of The National's two most recent albums -- 2007's Boxer, 2010's High Violet -- has been replaced with a confidence and what the band's Aaron Dessner refers to as the band's return to a "free wheeling" approach adding, "It just feels like we've embraced the chemistry we have." That particular musical molecular structure remains grandly brooding with frontman Matt Berninger's baritone still commanding the spotlight. But there's a lighter touch and more simply laid out strategy this time around, fewer churning rock dirges, more crisply delineated lines. In the end an album that's "more fun", says Aaron, "or at least The National’s version of fun.” Stream "Don't Swallow The Cap" and watch the videos for "Sea of Love" and "Demons" below...

Piano-playing Sunday Lane and in-demand session and touring violinist Jessy Greene are the L.A.-based singer/songwriter duo who call themselves Fauntella Crow. Lane has released her own mostly sunny folk/pop recordings while Greene has graced the stage (and studio) with artists such as The Jayhawks, Wilco and Dave Grohl's recent "Sound City Players" project. Their promising new EP Lost Here combines strong melodies with an ethereal aural atmosphere, the combination of keys, strings and Lane and Greene's dual vocals making for an inviting chamber pop listen. Full bio and a stream (and video) of lead single "Just Try" below...

The list of bands looking to channel the feel and sound of '70s Laurel Canyon folk/rock is long and growing longer but few can match The Parson Red Heads in their ability to sidestep soundalike retreads and bring their own songwriting -- and instrumental -- chops to the forefront. The follow up fall full-length to the Portland, OR, outfit's excellent 2011 Yearling is in the works and the new track "Times" is something of a preview arriving as part of a new six-song EP 6 due June 4. "This song was the first song we recorded in our sessions at Type Foundry with Scott McCaughey," says Evan Way of the Red Heads. "We had such a great time making this song come to life in the studio, adding elements, taking elements away, just trying to create a really specific and memorable atmosphere to the song. It was one that sort of wrote itself, coming together all in one night, and is maybe one of my favorite songs we've ever recorded." Watch the in-studio recording of the song after the jump...

Over the course of their first three albums, London's The Boxer Rebellion have tweaked the sound of what their bio refers to as "grand ambition" to find critical acceptance while building upon their staunchly D.I.Y. indie strategy. This is, it should be noted, the first band to break into the U.S. Top 100 albums chart for their breakout album Union without a physical CD release. But after tapping high-cred producer Ethan Johns for their dark, more organic-based The Cold Still, The Boxers have pretty much embraced their inner arena-rock gloss for their new aptly titled LP Promises. Produced by Billy Bush (Garbage) with the band, these eleven new songs are teeming with the big and the bright, epic anthems meant to rattle the rafters with sky-high melodies and rippling U2-meets-Coldplay riff-rock opulence. And guess what -- it works. No one will mistake the paint-by-numbers "Keep Moving" for overly edgy or arty adventure. But no one will deny the sheer rush of indulging in the comforts of that cool bassline intro, the Edge-like guitar pyrotechnics and vocalist Nathan Nicholson's perfectly pretty vocals. By the time the chorus hook drops it's almost an unnecessary embellishment. Stream the equally delectable "Diamonds" (and watch the video) below the digital fold...

Recreating the strobe-tastic, glittering energy of a 3am club scene would appear to be high on the to-do list of Dungeonesse , a dizzying, beat-heavy collaboration of Baltimore chums Jenn Wasner (Wye Oak) and John Ehrens (White Life). Marrying airy melodic hooks to some skittering drum-and-bass jolts and Wasner's headlong sprint into breathless, can-you-keep-up lyricism, Dungeonesse (word play on the oft-misspelled dungeness crab) keep things frisky and sugar-coated on their self-titled debut (May 14, Secretly Canadian). At first blush, "Drive You Crazy" (stream after the jump) is ultra-light to the point of empty calories. But like the similar smart-popping R+B tip of Channy Leaneagh's Poliça, the damn thing just sucks you in and you're off on some mindless -- but ecstatic -- little joyride. Even better is the gorgeous, early-Eurythmics-sounding "Nightlight." "Something that Jon and I talk about a lot is the idea of reclaiming pop music," says Wasner, "placing it squarely in the hands of, I dunno, say a couple of regular nerds from Baltimore."