Medium Rotation — Desire, I Want to Turn Into You; in|FLUX

CAROLINE POLACHEK Desire, I Want to Turn Into You (Perpetual Novice) — The first words Caroline Polachek sings on her new album, Desire, I Want to Turn Into You, are “Welcome to my island.” Delivered in a tone that bridges the distance between robotic and seductive, the line is suitable statement of introduction. Although there are other artists that are sympathetically aligned with the offbeat electronica and pop music Polachek crafts — the iconoclasm of U.S Girls comes to mind, as does the laser-cut precision of Robyn — she truly does seem to be out on her own, vast oceans between her and any contemporary and predecessor. (It’s not for nothing that she can get fellow wanderer Grimes to pitch in on the album, yelping along alongside Dido on “Fly to You”). If “Crude Drawings of an Angel” is initially a little like vintage Everything But the Girl, it quickly becomes evident that it’s infested with enrapturing oddity, like it was invade by creeping, benevolently parasitic ivy of invention. Sometimes she sounds triumphant (“I Believe”) and sometimes elegantly downbeat (“Hopedrunk Everlasting”). The through line is clear: vivid originality. In addition to those mentioned, quench your desire for great music with the following cuts: “Bunny Is a Rider,” the flamenco-shaded “Sunset,” “Blood and Butter,” and “Smoke.”

ANNA B SAVAGE in|FLUX (City Slang) — For her second full-length album, Anna B Savage expands her scope and narrows her focus. Previously committed to creating entirely on her own, or nearly so, Savage brought in more collaborators for in|FLUX. She also dug deeper into her own being to craft songs that examine the contradictory emotions that can make simply living as confusing as sharing a wind tunnel with a boxcar-filling quantity of styrofoam peanuts. Opening cut “The Ghost” sets the tone with its consideration of the way the wounded feelings of past relationships can linger set to posh music that’s all left turns. On the record, Savage often come across like Anna Calvi with the intensity dialed back, but the real cryptology key might be “The Orange,” which suggests Laurie Anderson mounting an art piece as a chanteuse. Want more? Check out the vivid title cut, “Pavlov’s Dog,” “Crown Shyness,” “Feet of Clay,” and “Touch Me.”

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