What the CL Music Team is listening to on this fine Monday to rocket launch the work week. Click here to check out previous entries.

Gabe - Public Image Ltd., One Drop EP (2012)
Still reeling from my post-Record Store Day buzz... Thankfully, I have no shortage of new records to listen to, but this one is really standing out. One Drop is the first new music recorded and released by John Lydon's post-Sex Pistols project in decades, and if it's any indication of the direction the band is traveling in, it was well worth the wait. Four tracks of dub-influenced rants from the former Johnny Rotten and crew that sound so deep and rich on the glorious 12 inches of heavy black vinyl they're pressed on. The final track, the epic "Lollipop Opera" is one of PiL's finest moments and has been stuck in my head all weekend long. As punk rock veteran Henry Rollins once said when describing PiL and their unique blend of noise, dub and aggression: "...infinitely more interesting musically than the Sex Pistols." I couldn't agree more. Welcome back, Public Image Ltd.!

Leilani - Here We Go Magic, A Different Ship (out May 12 via Secretly Canadian)
The forthcoming Here We Go Magic album hasn't been released yet and is already one of my favorites this year. Produced by Radiohead's Nigel Godrich, the fivesome's third full-length opens with a light cacophony of found sounds before segueing into the stunning simplistic alt folk beauty of "Hard to Be Close." All throughout, the record draws on the Kraut-y/post-punk rhythms that have become the band's trademark, sometimes picking up a more insistent pace, as in "Make Up Your Mind" [download after the jump] and "I Believe in Action," but generally offering a more subdued tone of melodic indie rock with moments of blissful electro folkedelia. Luke Temple's vocals slide and sigh and coo over it, breathy warmth, tender and channeling shades of Paul Simon and Sting. The title track closes the album with mesmerizing gentleness that building to a swirling cacophony of vocals, feedback and ambient noise.

Ray - The Deep Dark Woods, The Place I Left Behind (2011)
Canada has given their American neighbors to the south a plethora of great musical exports over the ages, but Saskatchewan’s The Deep Dark Woods are one of the best in recent memory. The alt-country quintet were easily the best band that I hadn’t planned on seeing at last year’s Orlando Calling music festival, and the name of their latest LP – The Place I Left Behind – seems to make a nod to the sonic growth they’ve experienced since their 2006 self-titled debut.

While frontman Ryan Boldt has always possessed a cavernous, baritone croon, his band’s sound has evolved from the straight country found on early tracks like “Downtown” and “Bakersfield” into a rich, soulful, and breathtaking blend of swirling organ, weeping lead guitar, and heartbreaking vocals that all shine on cuts like "Mary's Gone," "The Banks Of Leopold Canal," and The Place I Left Behind's title-track. It's seriously the most affecting harmony this side of Fleet Foxes, and it comes to Crowbar in Ybor City when the band plays alongside Tampa.s own Geri X and Sarasota's Have Gun, Will Travel on Fri., May 4.

Mike - M83, "Mirror" (2011)
A bonus downloadable track off last year's Hurry Up, We're Dreaming. I got my hands on this song over the weekend and haven't stopped listening to it yet.

Justin - Joey Ramone, Rock n' Roll is the Answer RSD 7" and Carl Perkins, Whole Lotta Shakin' (1958)
This Saturday, for Record Store Day, I went and picked up the new Joey Ramone 7", which features tracks from his
upcoming posthumous full length, … ya know?, to be released in May. Now, I love the Ramones, and I love Joey, and I really liked his first solo record, but he's been dead for 11 years now, and I know that he had just put the finishing touches on his first solo record when he passed away. So, it only makes sense that these songs are rejects from 2002's Don't Worry About Me. That's okay, I'm a completist and I love some deep cuts as much as the next super-fan, but these songs are just not that good. The record notes, "Side A" and "Side AA," but don't fall for it… these are "C's" and "D's" all day long.

However, I'm not one to naysay without bringing something else to the table. I also picked up the Rumble Records re-issue of Carl Perkins' 1958 Columbia release, Whole Lotta Shakin', and I haven't been able to stop listening to it. It mostly features Carl doing covers of hits from the era, like "Shake, Rattle & Roll," "Long Tall Sally," and "That's All Right," and baby, that's all right [video below]. Perkins' renditions of these songs are quickly becoming some of my favorite versions, and my little girl and I are having a great time be-boppin' around the house to ol' Carl.

Taylor - Butterfly Boucher, Butterfly Boucher (2012)
I have been listening to this non-stop since it was released last Tuesday. This woman conjures compelling lyrics and unrelenting hooks like nobody else. Highlights of this great set include "Not Fooling Around," "Warning Bell," and "Take It Away." Do yourself a favor and experience her gobs of talent for yourself. But be prepared to dance.

Nicole (elawgrrl) - Tim Barry, 40 MileR (2012) and Billy + Joe, Breathe EP (2012)
#MM after Record Store Day is a tough one with so many new treasures to listen to over and over again. However, this morning, I'm alternating between Tim Barry's new record, and Billy + Joe's brand new EP. Billy + Joe is a newish partnership between Billy of Billy The Kid & The Southside Boys and Joe McMahon of Smoke or Fire. Each copy of the tour version of the EP has a unique hand drawn cover - I love my frog version (pictured right). The six songs showcase this lovely sonic collaboration while also highlighting their individual talents. Take a listen to my favorite track, "Falling" below. I'm looking forward to hearing these songs live this Wed., April 25, when Tim Barry and Billy + Joe play Local 662 in St. Pete.

Falling by Billy and Joe

Shae - Amy Annelle, The Cimarron Banks (2010)
A caveat: when I love something, such as a book, record or film, I find it hard to describe the beloved thing in words. About all I can do is shake my fists in convulsive rapture and repeat "It is so good!" over and over and hope that my ecstatic energy is enough to get my point across. I say this because this past week, I heard Amy Annelle's The Cimarron Banks for the first time and while I fist-shakingly adore it, I'll try to better elucidate why.

I put the record on expecting more of Amy's usual sound — hushed, listless, sort of misty Pacific Northwest indie rock (light on the rock) — but what I heard was so different, I initially thought that there had been an error; I had to Google to confirm that, yes, this was Amy's new record. No longer whispering languidly into the mic, Amy sounded like a blend of Melanie Safka, Karen Dalton and the Casady sisters from CocoRosie, both of-the-past and timeless, ancient and ageless. Any pretense of rock has been left behind; in its place: pure high-plains folk music.

Instead of listening to a recording, I felt as though I were there with Amy, sitting on the banister of a termite-riddled front porch somewhere in the middle of the Oklahoma panhandle during a summer storm with mason jars of moonshine next to us, watching her and a few of her friends, all with rag-tag, pawn shop instruments, jamming in time with the thunder. There's a warbly upright piano, hand claps, a smattering of horns and backing vocals like warm winds. After a while, only Amy remains, outlasting the rest of the jamboree. Her voice, dirt-stained and weary, muddles with her dampened acoustic guitar as she closes out the night. I felt honored that I was privy to such an intimate event, even if only within the mental picture The Cimarron Banks elicited for me, but even better than that, I get to re-experience it whenever I want.

Deborah - Jack White, Blunderbuss (2012)
I've been slow to catch onto the phenomenon that is Jack White. For some reason, while everyone else was obsessing about The White Stripes, I was resistant to his Pied Piper charms. Slowly but surely, though (mostly due to The Dead Weather,) Mr. White has creeped into my ear canals and is taking up residence. This entire week has been blunderbussblunderbussblunderbuss on full repeat with very few interruptions. The album rambles through so many blues influences it's tough to keep track, with every listen revealing a new favorite. Right now I've got "Freedom at 21" playing constantly; White's rapid-fire delivery of the kinky lyrics perfectly paired with the aggressive percussion and blazing Zeppelin guitars. "Weep Themselves to Sleep" is another sharp track, with a heavy piano line that crescendos over and over again.

There's not much out online yet, but check the video for "Sixteen Saltines" below for a glimpse of destructive adolescence at it's finest, and the near demise of our hero, Jack.