Snuggled somewhere among the independent filmmakers is a director just waiting to get his hands on “Pixel Revolt,” the latest album from indie singer/songwriter, John Vanderslice.

It’s no secret Vanderslice has an intense passion for film. His last album, “Cellar Door,” included tracks inspired by a couple of well-known movies from the last five years. “Pixel Revolt” may not contain songs molded around a particular film, but in track after track, there’s a story to be told.

Vanderslice crafts every song to contain characters, plot, scenery, climax — every component of a story. His lyrics are accepting, understandable and best of all, a randomly perfect fit for every track they rest upon. But they should be — Vanderslice had the wizard of song lyrics himself, John Darnielle, by his side during the making of “Pixel Revolt.”

Little bits of Darnielle are sprinkled all over the album. On “Exodus Damage,” a cry of anti-government rebellion is neutralized when Vanderslice sings out a random “dance, dance revolution.” On “Angela,” a lethargic track heavy on mellotron vibes and flute, he illustrates the reason for a missing bunny with the explanation, “I let him out of the cage / he was eating spring mix on the carpet.”

Vanderslice’s subtlety is the reason to keep the album fresh on your playlist for at least a couple of weeks. That catchy melody you love may begin to mean more to you once the lyrics start to sink in.

— Katie Piepel

Bayside

“Bayside” (Victory)

Compare to: Anberlin, Further Seems Forever, Bleach

Bayside seems to have found its niche among the scores of whiny, depressed emo kids with plaid pants, “I Heart Mom” tattoos and scars on their wrists.

The 11 tracks on Bayside’s new self-titled album are musically catchy, but downright violent and almost suicidal in nature.

The album cover and pictures inside even show a man going through four steps to attempt suicide by jumping off a building.

The guitar riffs are solid and the drumming is right on, but the lyrics get vulgar and dark, which makes all of the songs depressing.

The tone of singer Anthony Raneri’s voice is annoying enough to make emo-haters cringe, yet distinct enough for Bayside fans to memorize the lyrics with little to no effort and cry while singing along at shows.

The songs seem to glorify sex, substance abuse and bloody murder, which could be offensive to those with more conservative lyrical tastes.

The songs are evidence that these guys are either mentally unstable alcoholics who act violently toward their girlfriends and start fights at parties or just four idiots with an utterly revolting sense of humor — and a death wish to boot.

— Dan Hopper

Agroraphobic Nosebleed

“Bestial Machinery: Discography Volume 1” (Relapse)

Compare to: Nasum,

Birdflesh, Pig Destroyer

With “Bestial Machinery,” drum-machine-driven grindcore terror squad Agoraphobic Nosebleed drops the motherload on listeners.

Spanning more than 100 tracks and spread across two discs, “Bestial Machinery” is an exhaustive collection of the band’s hard-to-find demos, tracks from split 7s and other assorted unreleased material.

During the course of the two CDs, Agoraphobic Nosebleed’s assault on the ears rarely lets up, battering listeners’ skulls into oblivion with the 500 beats per minute blasting of songs such as “Ode to a Junky” and “10,000 Bullets.”

In addition to the wealth of rare original material, the band manages to shred the back catalogs of Sore Throat, Voivod and Napalm Death with demented cover versions. Agoraphobic Nosebleed even ventures deep into the realms of drug-addled electronica on “Unholy BMX Fights the Nod (Morphine Constipation Remix).”

“Bestial Machinery” is a glimpse into the hellish primordial ooze that formed one of the metal scene’s most extreme bands.

Although it is doubtful a grindcore novice would be able to tolerate much of the band’s psychotic 50-second beat downs, fans of the band and the grindcore subgenre will be breaking their necks in an attempt to keep up with the warp-speed tempos found in this outstandingly brutal collection.

— Joshua Haun

Jamiroquai “Dynamite”

(Sony)

Compare to: Poets of Rhythm, Primal Scream

The latest album by British band Jamiroquai is exactly what its title says — dynamite. Lead singer Jay Kay is back with his oversized hats and eclectic beats, providing a unique musical experience for any listener.

Jamiroquai has been together for more than a decade, yet it continues to hold true to the roots of its music — a unique blend of house, soul and funk music.

The title track, “Dynamite,” sets the retro vibe Jamiroquai loves to play with. The band has a very distinctive sound that is unlike that of any other band in the music industry.

“Seven Days in Sunny June” has already proven to be a hit single in the United Kingdom and with the smooth, carefree flow of Jay Kay’s voice, it’s easy to see why it’s a favorite with audiences.

Although it initially seems a bit cheesy, the song “Don’t Give Hate a Chance” is one of the best on the album. It provides a larger message to audiences wrapped in a shiny, upbeat package.

Jay Kay showcases his vocal talent on “Black Devil Car.” The chorus is catchy, and will undoubtedly have audiences singing along. Jamiroquai has proven they will be in the music business for some time to come.

With records like Dynamite, they continue to blow away the competition.

— Ashley Garbin