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NMT: Preview Devendra Banhart's new album, "What Will We Be." NMT: Preview Devendra Banhart's new album, "What Will We Be." Watch

Devendra Banhart

"What will be"

For nearly a whole decade, folk-rocker and Natalie Port-man ex, Devendra Banhart, has recorded some of the most bizarre, coarse folk music around.

Always gorgeous in their own odd way, his albums were held close to the heart of many listeners, but with “What Will We Be,” the music is less strangely beautiful, and more, well, simply beautiful.

Less surprises and peculiar sounds are in store, but that only slightly detracts from a wonderfully, albeit subtly, done record.

With the ever-present Spanish flair and feeling of friends simply jamming, “What Will We Be” feels like the soundtrack to a road trip to nowhere, enjoying life as it comes.

The flamenco-tinged “Can’t Help But Smiling” is true to its name as it playfully sashays in a smoky, pleasantly chaotic manner.

“Angelika” is noticeably more stripped down, carried by a trio of strings over Banhart’s crackling vocals and faint backing echoes and whistles.

“Chin Chin & Muck Muck” is a romantic instance of Hispanic lulls and puckering drum rolls like a leisurely jungle excursion as “16th & Valencia, Roxy Music” quickly streams right back into the city over rapid shuttering percussion and lightning flash guitar plucks.

“Baby” may be the most charming of all. It’s a carefree, head-nodding tip to simpler times with sunny snapshots into the ‘70s with sandy guitars and dusty vocals.

Banhart might lose a little of his mojo with the more straight-laced sound, but the less freaky troubadour still wins you over with the album’s undeniable beauty.

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NMT: Preview Julian Casablanca's new album, "Phrazes For The Young." NMT: Preview Julian Casablanca's new album, "Phrazes For The Young." Watch

Julian Casablancas

“Phrazes For The Young”

It’s felt like ages since we’ve seen new material from The Strokes. Nearing four years since the release of “First Impressions of Earth,” we have seen no shortage of side-projects from the members.

Guitarist Albert Hammond Jr. has released a duo of albums that proved to be unexpectedly strong. Drummer Fabrizio Moretti found success in the well-reviewed, genre-bending Little Joy, then the folky experiment of bassist Nickolai Fraiture in Nickel Eye.

That left Nick Valensi and Julian Casablancas as the sole members to not venture beyond The Strokes, until buzz around a Casablancas’ solo project started to emanate over the summer, spurred on by mysterious 30 second clips until “11th Dimension” was released as a single just weeks ago.

Early cues let on that Casablancas’ music would be noticeably more electronic than The Strokes’ endeavors, and the release of the single would prove to show his reliance on synth-heavy hooks rather than the jangly, fuzzed-out guitar of “Is This It?”

His music largely favors the polished gloss of “First Impressions” but feels less awkward in its full commitment to the sound. Beyond the Strokes-esque guitar shutter bridge in “11th Dimension,” there is little comparison. In fact, with the synth echoes in “Left & Right in the Dark,” the relation grows closest to Flock of Seagulls with much better haircuts.

Of course, the biggest draw is Casablancas’ indisputable and effortless cool oozing out of every word. It worked brilliantly in the carefree approach with the Strokes, and does much of the same in the solo undertaking.

But this time, Casablancas feels a little sunnier and less rigid, dark cool. He balances the warmness of Los Angeles and the neon glitz of New York City into a comfortable blend, highlighted right off the bat with the oceanic echo of “Out of the Blue.”

There are times when Casablancas feels like a beachcomber with little direction, meandering a bit with songs middling around five or so minutes when they could be cut down into a much tighter package.

However, it’s the most polished execution of a Stroke side project since Albert Hammond Jr.’s “Yours To Keep,” and the most original of the bunch and leaves you longing for some more Strokes material.

You quickly realize that the band is a prime example of the sum being greater than the individual parts, and one hopes that they can find a little time for each other. With each of them flexing their creative muscle, who knows what a collaborative effort might have in store for us.