This afternoon more than any other, I truly need some good music to listen to. Because last night - for reasons that now escape me, and wouldn't excuse me regardless - my girlfriend and I sat combing through YouTube for the dregs of mid-00s scene kid music. The stuff that exists in the darkest recesses of your memory, the bands with names whose inherent awfulness is rivalled only by the songs themselves. I've had 'Shake It' by Metro Station stuck in my head for about twelve hours now.

Apologies for my absence the last couple of weeks, by the way. I was in a post-Easter chocolate coma. That Yeah Yeah Yeahs album is about 1000% better than its artwork, huh?

The Haxan Cloak - Excavation (Pitchfork Advance)

Well, that'll do the trick for getting any traces of horse-face Cyrus out of the old noggin. The Haxan Cloak is the nom-de-plume of London producer Bobby Krlic. Haxan is Swedish for "witch". It's not witch house though! The cover has got precisely zero upside-down crosses on it. In fact all it has is a rope noose hanging in a black void, which is a pretty accurate representation of the music inside. That mightn't sound like a ringing endorsement, but it is: Excavation is one of the most thoroughly unsettling records I've ever heard. And I already told you what I spent last night listening to. There's lots of empty space, and sparse percussive elements and echo chamber vocals shifting in and out of that emptiness, punctuated with Wendy Carlos synth whines. It's like an unholy, undead version of James Blake's Klavierwerke EP. Don't listen to it with the lights out.

Iron & Wine - Ghost on Ghost (NPR)

If you like your music a little less hair/hell-raising, I can recommend Samuel Bean's latest. It's been cool watching Iron & Wine grow from simple, intimate bedroom act to full, studio recorded band: the music just keeps getting better with age, or something. Ghost on Ghost is bright, brassy (often literally) 70s country, with Bean leading his group through some baroque pop fields of strings, horns, and sweet "woo-oo-oo" backing vocals. Would go well with AC Newman's recent solo thing, Shut Down The Streets.

Fall Out Boy - Save Rock and Roll (Soundcloud)

So I guess even blind squirrels find nuts sometimes. For all the awful tripe associated with that mis-named "emos" of the past decade, Fall Out Boy stood out: because they were good. And continue to be so, on the basis of this "comeback" album, their first since 2008's Folie à Deux - if you didn't like 'The Phoenix' or 'My Songs Know What You Did In The Dark', which perfect that proper-emo-rock-goes-to-the-club sound they've been chipping away at since Infinity On High, you probably won't find much to enjoy on the rest of the album. Otherwise, this is a treat: Patrick Stump's voice is one of the strongest in "alternative" music, Pete Wentz's lyrical flourishes have been shorn of most of their pretension (but none of their puns), and the band sound unstopabble. Guest appearances by Courtney Love (who provides a terrifying monologue on 'Rat A Tat') and Elton John (on the title track) make a crazy kind of sense; Big Sean's verse on 'The Mighty Fall', slightly less so.

The Shouting Matches - Grownass Man(NPR)

I guess after spending all that time alone in a cabin Justin Vernon wants to socialise a bit. Outside of his Bon Iver moniker he's worked with Volcano Choir, Colin Stetson, and now here's his blues-rock side-project with members of Megafaun and Peter Wolf Crier. To me it sounds like the missing link between For Emma, Forever Ago and Bon Iver, Bon Iver; it's a full-band set-up, but it's still a little rough-and-ready, the production a little less studio-sheen. It's pretty fun, and he's got a good blues man's voice, although it's hard to believe he can wrestle such a falsetto back down to earth.

This week I have not been on Twitter @tennis_everyone a whole lot