“So a tuba, a banjo, an accordion and a toy drumset walk into a bar …” That’s what Squeeze-bot’s “About” section informs Facebook browsers.

We know Jamie Lidell is a master impersonator. He can toss a dart at a decade and emulate the sound, songwriting and texture of that period.

If you didn’t know any better, you’d think Welcome Oblivion was a brand new Nine Inch Nails record.

There’s a certain purity in releasing music in anonymity.

When I think of country outlaws, roughneck rebels like Hank III or Townes Van Zandt come to mind — guys who refuse to bend to conservative, squeaky-clean Nashville.

Exhibiting an onslaught of displeasure, Gold is as complete as a post-punk record gets while working with such firm intensity and soft, yet duly discordant, melodies.

Providing a lyrical manifesto of both slurred and atonal confessions, along with catchy inklings of I’m-a-loser-baby melodies, See You in the Funny Pages is a model of four C

This effort from Basement Up’s Allen Poe is a dine-and-dash, just on the long side of an EP, and mostly satisfying, with a couple notable highs and lows.

Cave’s solo work has seldom rocked, almost as a response to his previous band, The Birthday Party.

Twenty-three-year-old Aly Spaltro was working at a video rental store in Maine, writing music each night when she was done with her late shift.