Electronic music generally feels more machine-like than the product of conventional guitars-and-drums setups, but that doesn't mean every electronic artist is inclined to create work that's cold or inhuman. Dan Snaith exemplifies this idea in Caribou.   

When Michael Wayne Atha was born in 1979 in the relatively small Alabama town of Gadsden, it’s doubtful that his mother looked at her new son and said, “Future Rap superstar.” But that’s just where Atha — now known by his stage name Yelawolf — is heading.    

The music industry is fueled by schlockmeisters churning out sugary confections that make millions but provide little enlightenment, while a courageous few pursue their creative vision in relative obscurity, a noble ethic that earns a cult following and a smattering of critical respect. David Dondero falls solidly and willingly into the latter category.  

Pinning down the Bright Light Social Hour’s sound is like describing the contents of a blender on puree. The group evokes the spirit of the ’70s with shards of Southern Garage Rock, Psychedelic Soul, electric R&B/Funk, Indie Pop and thunderously elemental Hard Rock, represented by acid-washed church and Farfisa organ, searing slide guitar and chunky riffage, all in the service of songs that are compellingly contemporary and utterly appealing.   

The recent death of the Beastie Boys’ Adam Yauch underscored the fact that Rap and Hip Hop have now been a major part of the musical conversation for over three decades. Earl Simmons, better known as DMX, is another Hip Hop figure whose evolution traces back to the genre’s nascence and whose success and gruff Rap style inspired a generation to follow his blazed trail.  

 Although Natural Child coalesced back in 2009, they sound like they’ve been around forever. Almost stereotypically young, the Nashville trio’s influences date to their parents’ record collections and that sense of musical classicism is infused with an appropriate dose of hormonal rage and rebellion.   

Talking about race is always a dodgy premise, but Carolina Chocolate Drops and their music practically encourage such discussions. “It's a very strong statement to say that you're a black string band musician,” said Drops' Dom Flemons in an interview with Fairfield Weekly. “That helps people open up the article or what-not and then they get to find out a whole part of the Folk music history that they might not have known before.”   

Wailing guitars and screaming Rock stars have their place in the hearts of many Americans, but they’re certainly not needed to make great Rock music. A quick listen to Hoots & Hellmouth will prove exactly that. The boys of Hoots make music that may be different from what graces Top 40 radio, but it’s far from unique. They’ve fashioned their tunes after stuff we’ve listened to for decades.  

Eight years ago, guitarist/vocalist Justin Ringle relocated from his native Idaho to Portland, Ore., and very quickly shifted his stylistic allegiance from the aggressive Rock he had played at home to a gentler Folk sound. He formed Horse Feathers to pursue his newfound acoustic passion and garnered rabid fans and critical acclaim, with reviewers consistently pointing out the wonderful tension between the dark poignancy of Ringle’s lyrics and the expansive beauty of the music that surrounds them.  

In a relatively short time, Joshua Steele has become something of a Dance Pop/Dubstep poster boy in his native England and is well on his way to similar status in the U.S. The renowned DJ, producer and co-founder of Circus Records, better known by his flashier marquee name Flux Pavilion, came to prominence last year with his big UK hit “Bass Cannon."