Gary B & The Notions play short, snappy guitar pop songs with funny, idiosyncratic titles and lyrics that almost dare you to underestimate them. But their forthcoming second full-length album, How Do We Explode, out on May 8th, retains the light, amiable mood of the Baltimore band’s previous recordings while cranking up the volume and, more crucially, the nervous energy inherent in frontman Gary Lee Barrett, Jr.’s songs. The result is something a little more compelling, a little sharper, than the seemingly lightweight power pop the Notions built their rep on.

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Among Wolves have been working on their second album, and previewing songs from it in their rousing, raucous live show, for so long that I felt like I loved This Is A Wave Goodbye before ever hearing it. The Baltimore quartet is a rare breed, an old-fashioned rock band with multiple singers and songwriters whose different voices and visions fit together into a unit that’s greater than the sum of its parts. That unit has a tendency to get drunk and play sloppy renditions of their twangy roots rock compositions, but that’s just in keeping with the tradition passed on by the band’s influences, which loom over the album without swallowing it up.

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DDm is a rapper from Baltimore whose name is as much a product of his career’s unusual trajectory as his music is. When I first met him about five years ago, he was rapping under the name Midas and tearing opponents apart at local MC battles like Style Warz and making fairly traditional solo mixtapes. A couple years later, he linked up with the label Mania Music Group, becoming part of a wrecking crew of creative, offbeat rappers and producers, and began forging a more unique sound and identity under the name Dappa!!! Dan Midas. And in the last year or two, he’s shortened his handle to DDm and has undergone more changes in both his musical aesthetic and his public persona. Namely, he’s begun to incorporate diverse dance and Baltimore club music influences in his music, and he’s come out of the closet as a gay man, still a rarity in the world of underground hip-hop.

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Between the title, one of the simplest and most universal phrases in the English language, and the cover art, a commonplace portrait of the planet Earth from outer space, Jason Urick’s latest album I Love You seems to be pursuing an aesthetic that’s as neutralized and devoid of detail or personality as possible. The only thing he could’ve done to make the exterior packaging of the album more generic would be to change his last name to Smith. But that’s not to say that I Love You suffers from a lack of ideas or creative expression. If anything, the album is a culmination of a running theme in Urick’s music, which often takes very specific source material, and stretches and manipulates the samples until they become abstract and ostensibly meaningless, sound for sound’s sake.

Although Urick, a longtime fixture of Baltimore underground music, recently located on Portland, Oregon, I Love You was partly recorded at Floristree, the Baltimore performance space he previously ran and lived in. Like the 2010 album Husbands and Urick’s other solo releases on Thrill Jockey Records since the breakup of his band Wzt Hearts, I Love You is a collection of a handful of lengthy tracks, mostly running from six to ten minutes, each with its own particular palette of sounds that slowly unfurl in subtle variations. It’s a headphone album in the classic sense, with the pure aural beauty of its best moments being derived primarily from the way the sounds drift from the left to right channel or vice versa.

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On a recent day in September, music fans everywhere reacted to the news that R.E.M. had decided to break up. However, the same day a much less famous band, but perhaps one that still had a bit more potential for future growth, also announced that it was calling it a day. The breakup of the wonderful, inventive Baltimore quartet Ponytail was not exactly a shock — in fact their split had been preceded by a lack of touring and lots of speculation about the band’s status — but it was still sad to hear. But the band left behind one last album, Do Whatever You Want All The Time, released earlier this year before calling it quits, and it’s a worthy addition to their legacy.

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In a way, the continued existence of The Death Set doesn’t really make a lot of sense after the 2009 death of one of its two founding members, Beau Velasco. Not that remaining frontman Johnny Siera shouldn’t have pushed forward, but the band’s hyperactive fusion of hip hop and dance beats and pop punk sugar rush hooks simply doesn’t seem like a creative vehicle that can handle that kind of sadness hanging over it, and even the Death Set’s name feels awkward and perhaps even in poor taste now.

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