In the four years since the Silver Jews toured with HALLELUJAH THE HILLS, Jews singer David Berman retired from the music biz to do whatever it is he does otherwise, and the erstwhile lo-fi stalwarts disbanded. Meanwhile, Jah Hills’ Ryan Walsh and Co. marinated in the latter half of the Jews’ oeuvre. The result is “Get Me in a Room,” the first track off new long-player No One Knows What Happens Next, Hallelujah the Hills’ first record since 2009’s Colonial Drones

From the very first riff of RIBS’s rumbling new single “Kiss,” it doesn’t take long for the sonic seismograph to start tracing a zigzag across your headspace. The quartet’s first release since the one-two suckerpunch of last January’s atmospheric Locrian Singles, “Kiss” is a pure growler, a sledgehammer of a tune that wedges its way into your ears and sprawls across four eerie minutes, eventually striking a low-down choral groove that only serves to momentarily stop the song’s pounding ritual.

Jimmy Rossi wants to take you on a trip around the world and back. The December Sound guitarist/programmer and mastermind behind electronic pop joyride AVOXBLUE has returned with his latest batch of icy electronic pop compositions, once again crafting an emotive voyage around ambient highs and lows.

British blogs are buzzing over SUN SISTER, a new noise-pop quartet from Fitchburg, whose 4-track EP Rich White American Kidz is soon to be released by a small Sheffield, England, tape label, Tye Die Tapes. Though “Growing Your Hair Out” is the track of choice for most bloggers, “Sore Eyes” is the one we’ve been jamming on repeat for weeks.

PHOTO BY CHRIS MARCH

ALOUD are Boston DIY defined. Conceived in 2002 out of a Fenway one-bedroom apartment by two 19-year-olds in love with each other and rock and roll, Jen de la Osa and Henry Beguiristain have made music their livelihood for the past decade. Three albums, a rotating cast of bandmates, and endless tours zigzagging the country later, the heartbeat of Aloud celebrates 10 years of tunes tonight at Great Scott on a bill with Spirit Kid, Oranjuly, and Brooklyn’s the Wicked Tomorrow.

Now that Patriots’ Day is in the sunny rearview, outdoor life can finally begin around the Commonwealth. This long-awaited seasonal bloom has found a Sunday afternoon soundtrack in the hazy nu-gaze pop of R.M. HENDRIX’s “Summer Dresses,” a noisy, carefree ode to girls, beaches, and rock and roll that wouldn’t be out of place on a beat-up Maxell mixtape alongside early New Order and the Jesus & Mary Chain.

BEAUTIFUL WEEKEND are here to show us two things: 1) there’s more to Joel Roston than the complex combinations he put together as part of the late Boston hardcore outfit Big Bear, and 2) Noell Dorsey of Guillermo Sexo still has that hauntingly operatic voice even without the catchy shoegaze of that crew. Roston and Dorsey first began working together in 2005 but just recorded their upcoming Beautiful Weekend album, Holy Hype!, over the course of last year.

GENTLEMEN HALL are on a nonstop grind. After 2011 saw the Berklee-bred synth-pop sextet perform at the Billboard Music Awards, secure two Boston Music Awards (including Pop Rock Artist of the Year), and tour the country from here to there, the new year has been all about hustle. The band re-released the When We All Disappear EP for free download last month, kicked off their 13-date Spring Fling tour this week, and are letting the remixers have their way with their already vibrant, glistening brand of electro-pop.

Technically? Not the first time Ms. LeBlanc has released something under her first name. Back in 2001, there appeared an album called This Summer, credited to 15-year-old NOELLE; RCA later re-issued it as Damone’s debut. Now, with a decade of trials and tribulations under her belt, LeBlanc’s new one-off EP Good Ol’ Daze (recorded between Organ Beats albums) takes her back to the start: bedroom-crush lullabies lured into synth-pop reveries.

From the hills of Vermont - with additional ties to Easthampton, Mass, Surry, NH, and Brooklyn - comes "I Shot a Gun," the latest single by Americana collective Wooden Dinosaur. The track sounds like innocent alt-country at first, motoring along with a folksy guitar strum, some pedal steel touches, and even a down-home fiddle solo.

The past few months have been an emotional rollercoaster for garage-rock trio TWIN BERLIN. First, they were selected to go out to Los Angeles to record new EP There Goes My Virtue with Travis Barker, after the Blink-182 drummer picked them as part of Guitar Center’s “Your Next Record” competition. But in October, around the time they headed west, former Weezer bassist Mikey Welsh passed away, leaving one of his last artistic efforts: the EP’s artwork.

Three minutes is not a long time. But for post-punk/post-hardcore/post-yesterday hellions GRASS IS GREEN, a spry 180 seconds is all that’s needed to kiss up, break up, and make up within the beautifully messy confines of song. “Nice Guy of the Year Award,” the first track off Ronson — Grass Is Green’s upcoming third album in as many years — is a complex ruckus of a number with a sweet, sensitive undercoating, true to the quartet’s often-schizophrenic serving of animated, jittery rock and roll.

Mere mention of 3DCOSBY takes us on an acid-ride flashback deep into the wooly, trippy sweater patterns great comedian Bill wore back in the hazy-lazy ’80s. But there’s more than just nostalgic joyrides through the boobtube in the artfully bent sounds of Matt Ross and Daniel Harris, an experimental duo who became fast friends at the ripe old age of three and who shared a childhood love of Michael Jackson, afternoon soccer practice, and hours watching the New Kids on the Block cartoon TV series.

Those privy to the cochlear destruction caused by a live Clouds performance should brace themselves appropriately for the band’s new side project. Retaining much of the heaviness of Clouds, J/Q have added an element of melodic fuzz pop that is perhaps a bit more palatable to radio-friendly ears, and “Binary Life” is a cosmic wave of sludge with punches of synth-laden onslaughts and moments of dropped-out vocal-driven echoes.

Within the first few chilled-out electronic-pop chimes of GRAND RESORT’s riveting debut single “Microscopic,” you can almost huff the fumes of the Fung Wah carrying Andres M. Pichardo away from Boston and into the bloggy-buzz clutches of New York City. The 19-year-old Brookline lad and native of the Dominican Republic was already splitting time between education here at the New England Institute of Art and an internship at Manhattan’s Flux recording and mixing facility before making the permanent Dirty Apple leap just last week.