Toro y Moi — Chaz Budnick’s nom de plume — announced the release of a full-length album this fall for his side project, Les Sins.

There’s been a few Les Sins releases over the years, but Michael, as the album will be called, will be the first full-length record.

The songs to date feel as though they belong in club, as opposed to on a train like the most recent Toro y Moi record, Harm in Change (one of my top records of 2013).

The record is set for release Nov. 4th and Budnick will be playing as Les Sins at FYF Fest in Los Angeles this weekend.

Hear Les Sins:

TV On the Radio announced the release of their fifth studio album today.

The record is slated for release this fall, and will be called Seeds.

The band also released a teaser video to accompany the announcement.

This is the first record they’ve released since the death of bassist Gerard Smith in 2011.

The Prodigy revealed that they’ll be releasing a new album later this year, NME reports.

“It’s more violent-sounding; it feels wilder. It’s not so much old-school. It’s neither guitar-based not synth-based; it’s kind of a mixture.” the article quotes front-man Liam Howlett as saying.

The album will be a followup to 2009′s Invaders Must Die.

I had no idea who Haunted Hearts was when I put this album on, but within seconds, I recognized that striking tremolo and powerful, direct delivery. “That really sounds like Dee Dee Penny from Dum Dum girls,” I thought.

That’s because it is. This is her side project with husband and Crocodiles frontman Brandon Welchez, and it really sounds like a blend of their two bands. There’s the fuzz and grime of the Crocodiles guitar laden noise rock with the same kind of thin electric piano melodies guiding the songs. But there’s the sweet melancholic lyricism and simplicity of Dum Dum Girls to balance it out. Almost every lyric, every ooo and aaah is sung by the two of them too, further combining their respective sounds.

The result is a mix that sounds so distinctly like Garbage: the same bass driven, simple rhythms stacked beneath a wall of nondescript, guitar static. But Haunted Hearts isn’t stadium rock; these are not power-rock anthems. There’s youngness to these songs, a childlike simplicity in lyrics like, “Up is up / But so is down” or “Something that feels bad / Is something that feels good”.

On the whole I’d say it feels a bit underdeveloped, a bit starved for ideas. Every track is composed of a series of loops that seem to carry throughout the duration of the song, maybe pausing for a bit of drama here and there, but mostly, rolling on beneath the verbed out vocal tracks.

You know the stereotype of hipsters standing around at shows, staring with blank faces and not so much as a head nod? That’s what this album sounds like. It’s still. It’s paused. It hangs around like kids on a corner with nothing to do but wait.

I have to say, the EP they released last year, with two earlier versions of “House of Lords” and “Something That Feels Bad Is Something That Feels Good” far outpaced the full length with raw energy and emotion. Plus it featured a very NSFW picture of someone’s very exposed lower half on the cover. That’s kind of the root of it: the EP felt like fucking a smoking hot babe in thigh-high boots and the full length feels more like making love after a nice dinner.

Don’t get me wrong – it has some cool sounds and some good songs (“Initiate me” and “House of Lords” are the high points), and I could see it being great for the afternoon commute back home from work. But given the choice, I think I’ll take their respective bands over this collab.

Cherub wants you to fuck to this record, and they’re not shy about it.

Take the lyricism of Neon Trees, the sonic palette of Chromeo, mix in a healthy dose of Prince, and then drop the tempo like panties on prom night, and  you’ve got Cherub’s second full-length release, Year of the Caprese.

“This is that disco shit / that makes you feel alive,” says singer Jordan Kelley on ”Disco Shit”, the second track on the record, and it’s true. When they disco, it is that disco shit you’ve been looking for your whole life; it’s the stuff your mother talks about with a dreamy, nostalgic look in her eye as she reminisces about the ’70s, when you start wondering just how many people could have been your dad if things had been different.

But there’s no escaping it: this album is built for sexing. These are the formative moments of the next generation of disco, the catalyst for those nights grinding to the uptempo jams that follow. This is an investment in the future of disco, an incubator to secure the legacy for the next generation that will grow out of these hip-swaying songs. You will be that nostalgic parent, and Cherub wants to get you there.

They certainly walk the line between cheesy and authentic, and at times, they fall on the wrong side of it. The most glaring example is “<3″ — starting right with the title. ”I want to take / A sledgehammer to your car / And break / Everything apart,” says the chorus, culminating in an acoustic sing-a-long that has all the hallmarks of a Chris Carrabba unplugged album. Still not satisfied, they decided to leave the studio discussion where they applaud their heartfelt performance there at the end of the track, to remind us all that that really was the take (I mean, he made it more major). It reeks of major label single-centric pressure. Mistakes were made.

Is this a brilliant album? No.

Is this a game changer? No.

Does it have some clever moments, catchy hooks, and is it fun to listen to? Yes it is.

The tennis ball sample on “This Song is for You” is great. The tempo drop on “Work the Middle” is a great way to end the track. The calypso ballad, “Strip to This,” will elicit a smile from even the most cynical critics, despite it’s tired theme and painfully obvious anti-climax (get it? Cause it’s a strip club. You never get to fuck. GET IT?!). Apparently they intend to include their biggest single, “Doses and Mimosas” on every release, but fuck it, three more beers and you, me, and Mr. Carrabba can sing along with the greatest acoustic breakdown Cherub has ever performed.

It’s a fun album. If that’s what you want, what you expect, then they gotchu.