If you needed a melodic soundtrack for hiding under the covers and grinning at the ghosts under the bed, New York’s Caveman would be the perfect candidate. To be quite honest, it’s impossible to listen to their recently released debut album, Coco Beware, without conjuring images of campfire harmonies and tribal drums leading a victory march for the musical macabre. It’s a sound born out of timing, break-up and five guys that simply inspire each other. After parting ways with their old bands, Caveman’s Matt Iwanusa, Jimmy “Cobra” Carbonetti, Stefan Marolachakis, Jeff Berrall and Sam Hopkins have joined together to create a record that glistens with pop nostalgia, hypnotic harmonies, and captivating enchantment. PLANET spoke with drummer Stefan Marolachakis to find out more about their inspirations, experimentation, and what happens when the lights go down and the music turns up.

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For the average person the term “go-go” conjures up images of miniskirts and pole dancing. In Washington, D.C., however, the term immediately brings to mind the striking chords of ’70s funk, heavy percussion, and all the bouncy grooves that laid the groundwork for the city’s hip-hop past and present. Sitting at the forefront of D.C.’s old-school re-evolution is the exuberant Wale (pronounced “wah-lay”), whose dynamic lyricism and confident sound are drenched with the capital’s legendary musical history. After signing a production deal with Mark Ronson’s Allido Records, Wale has become recognized as an innovator in the hip-hop community, his stylish wordplay backed by the signature go-go of godfathers like the Backyard Band and Chuck Brown. “I’m just hoping to bring [go-go music] to the forefront,” he says. His latest effort, 100 Miles and Running, should do just that, with tracks produced by Best Kept Secret, Judah, and, of course, Mr. Ronson himself. Whether he’s discussing his disparate musical influences (“Let’s Ride”), recounting funny drug stories (“Warming Up Cane”), or collaborating with the “other” Parisian duo (“W.A.L.E.D.A.N.C.E.”), Wale finds a way to tie it all together. “I just listen to a lot of music,” he says. “I mean, everyone from Simon and Garfunkel to the Monkees to Bob Marley to the Beatles.” He even has aspirations to work with British wunderkind James Morrison. With one ear for the past and another for the present, Wale — along with the whole go-go revival — seems more ready to step up to the limelight.

Few bands combine pain and pleasure as deftly as the Raveonettes. The Danish duo’s latest release, Lust Lust Lust, finds their tender harmonies once again surrounded by a wall of sound: heavily distorted heartbreak, fuzzy guitars, and countless Jesus and Mary Chain references. The album flourishes in loneliness (”Hallucinations”) and blissful sadness (”With My Eyes Closed”), yet is brightened by occasional sunny hand clapping and sugary sweet sentiments (”Sad Transmission”). Even if it often seems huddled a bit too close to the distortion pedal, Lust Lust Lust has enough surprises, hooks, and atmospherics to make it worth repeated listens.

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