THE GOOD: Harmonizing Swedish sisters Klara and Johanna Soderberg return with another lush songbook.
THE BAD: Nope.
THE NITTY GRITTY: Produced by Tucker Martine (Case Lang Veirs, Decemberists, Camera Obscura), “Ruins” finds the ladies bringing their precious vocals to another set of songs swimming in introspection and heartbreak. It STILL amazes me that two Scandinavians who grew up nowhere near the Deep South (or any part of the United States) can sound more authentic than anything pouring out of Nashville these days.
Add a little pre-Beatles rock ‘n’ roll sway here, an echo-drenched pedal steel guitar there, and the picture becomes complete — gorgeous country crossover tunes straight out of 1963. The slow-dancing “Fireworks,” the rousing campfire singalong “Hem of Her Dress,” the melancholy-soaked title cut — these songs are all about the sentiment emanating from those spellbinding voices, and of course “Ruins” packs an emotional wallop. You may shed a tear or two, but you’ll also smile before it’s all over.
BUY IT?: Definitely.

TUNEYARDS — “I Can Feel You Creep Into My Private Life”
THE GOOD: Singer/songwriter/percussionist Merrill Garbus (she IS Tuneyards) comes back with a confrontational fourth.
THE BAD: No gripes.
THE NITTY GRITTY: Even the in-your-face politics (Garbus chiming in about feminism, racism and other hot-button Trump-era topics) can’t totally squelch the power of the grooves contained within. “Private Life” is the most electronic-leaning of all her works.
Tracks such “ABC 123” and “Colonizer” bang, pulsate and ride chugging basslines while Garbus tries to either understand or at least apologize for the world raging on around her. Heavy-handed messages? Doesn’t matter. You’ll still feel compelled to body-pop to a track like “Look at Your Hands” or clap along to the borrowed (stolen?) island rhythms carrying “Hammer.”
Sure, Garbus grew up in a Connecticut suburb, but her music has a streak of authenticity running right down its middle. The echoes of disco and R&B drag us back into the city after dark — not a bad place to feel accepted.
BUY IT?: Oh yeah.

THE SUFIS — “After Hours”
THE GOOD: Neo-psychedelic indie duo the Sufis comes back with a low-key (and slightly lo-fi) third.
THE BAD: No issues. Expect a slight shift in sound though.
THE NITTY GRITTY: This time, Calvin Laporte and Evan Smith embrace synths, tightly compressed live drums and reserved vocal deliveries. Cool and calculated, the record bangs and crashes while still retaining a mellow vibe throughout its all-too-brief running time (always leave ’em wanting more, right?).
For the uninitiated, try to imagine some catchy ’90s Swedish indie pop crashing into a dose of sloppy garage rock. Spread a few prog overtones across the top, and that’s Sufis. You won’t be able to resist the cozy melodies on “Anymore” or the drunken reggae swagger carrying “Till I Get Home.” Embrace the weird on the squiggly “Crispy Grapes 2” or the sly, sinister vibes making up “Watch Out.”
“After Hours” ends up a bizarre mixed bag that zooms in, hypnotizes and is gone in a tight 28-minute flash. Dig it.
BUY IT?: Surely.