RUSSIAN CIRCLES, Nine (Sargent House). As usual, post-metal’s Russian Circles strike with all the subtlety of a sledgehammer striking nitroglycerin in a room full of hand grenades. Growling de-tuned bass and bombastic drumming get heads banging while clearing the way for some seriously aggressive guitar work. There are also some very cool synthesized lines woven into the mix as well. The music is a highly collaborative effort, which is to say guitar solos barely peek above the massive grooves. Not that they need to. Ever heard the machine gun on an A-10 fighter jet? Well, this album is every bit as calming.

RHIANNON GIDDENS, Hope Is The Thing With Feathers (Nonesuch Records, Inc.) If you’ve been waiting for vocalist extraordinaire Rhiannon Giddens to get back to her roots as a member of the Carolina Chocolate Drops, your moment has arrived. Giddens picks up her banjo and takes us back to North Carolina to explore her bluegrass background, and gloriously so. Giddens’s voice will forever be angelic as she takes an Emily Dickinson poem to a different plane in grand fashion. Her creativity continues to push her in interesting directions.

CAMILLE THOMAS, Phillip Glass for Cello (Decca Records France). Music doesn’t get much lovelier than what happens here. The compositions are ethereal and completely balanced by absolutely sublime cello work. Songs don’t transition as much as they simply float from one moment to the next. Don’t get interrupted during this musical experience. Close your eyes and let the sound take you away.

EVAN MARIEN, Chrono (EMAR Productions). Bassist/keyboardist Evan Marien brings us everything we’d want in an eighties fusion album, somewhat updated. Deep groves and synthesizer runs carry the day, along with some striking lead guitar work from a bevy of guests. Fans of Snarky Puppy will dig this one, which also contains a smattering of Animals as Leaders intensity here and there. A nice reminder of what was and what will be.

MONO, Snowdrop (Mono of Japan). While certainly not as heavy-handed as a lot of post-rock can be, Mono is able to drive its points home via pure cinematic beauty. The use of strings amongst this Sigur Ròs-oriented effort takes things to a higher plane. The grooves are infectious, thanks to the solid work done by the bass and drums. They keep everything centered and on the right track. The arrangements are tender and subtle, placing everything exactly where it should be on the mix. It’s an album that could easily be played on a loop.

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