Our Mus-o-meter registers Ladybug Transistor's 'Clutching Stems'

The Ladybug Transistor has been making albums in Brooklyn before Williamsburg was cool, wearing its new wave influences on its sleeve. But to really get a sense of what it’s all about, we leave that up to the math of the Mus-o-meter (you can also check them out at Knitting Factory tonight).

Take the new wave aesthetic of Joy Division’s 1979 debut, “Unknown Pleasures.” Then add …

Morrissey’s inflections and melancholy on The Smiths 1986 album, “The Queens is Dead.” Then add …

The playful melodies of Belle and Sebastian on its 1996 album, “If You’re Feeling Sinister. The result?

The Ladybug Transistor’s seventh album, “Clutching Stems.”

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The Mus-o-meter registers Shenandoah and the Night's self-titled EP

Emotional. Gorgeous. Sad. Haunting. Celebratory. That’s how the frontwoman of Shenandoah and the Night describes the songs on the band’s forthcoming self-titled album (you can catch them live on Saturday at Brooklyn Bowl). Those serve it well, but we thought we’d also refer to the math of the Mus-o-meter to give you a sense of what this new act brings to the scene.

Take the moody, husky vocals of Cat Power’s 2006 album, “The Greatest.” Then add…

The longing, melancholy lyrics of Feist’s 2004 break-out album, “Let It Die.” Then add…

A touch of doo-wop from The Shirelles 1961 debut, “Tonight’s the Night.” The result?

Shenandoah and the Night’s new self-titled EP.

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The Mus-o-meter registers Sway Machinery's 'The House of Friendly Ghosts, Volume 1'

Sway Machinery’s first album, “Hidden Melodies Revealed,” had echoes of the Jewish cantorial tradition of bandleader Jeremiah Lockwood’s grandfather. The band’s latest record finds Lockwood looking to the power and energy of African music (catch them live this Saturday at the Bell House). But to really get a sense of what it’s all about, we leave that up to the math of the Mus-o-meter.

The quintessential Malian sound of Super Rail Band on the 2007 album “Soundiata.” Then add…

…The blues guitar of Son House on the 1992 release “The Legendary Son House — Father of the Delta Blues: The Complete 1965 Sessions.” Then add…

…The lively, energetic big brass of Balkan Beat Box’s 2005 self-titled debut album. The sum?

Sway Machinery’s sophomore album, “The House of Friendly Ghosts, Volume 1.”

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The Mus-o-meter registers Buke and Gass's 'Riposte'

Aron Sanchez and Arone Dyer’s latest project, Buke and Gass, has put these veteran musicians on the map. A lot of sound manages to come from these two tiny people, thanks to their employment of foot percussion and homemade instruments (hear them live this Saturday at Silent Barn). But to really get a sense of what it’s all about, we leave that up to the math of the Mus-o-meter.

Take the prog-rock of Fugazi’s 1991 debut, “Repeater.” Then add …

The folk-psych tendencies of Akron/Family’s 2007 album, “Love is Simple.” Then add …

The mesmerizing, hypermelodic vocals by Karen O. on the Yeah Yeah Yeahs’ 2004 debut, “Fever to Tell.” The result?

Buke and Gass’s debut full-length, “Riposte.”

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Our exclusive Mus-o-meter registers Boom Chick

It’s a guy on slide guitar, and an inexperienced girl on drums, playing the Delta blues. The comparison to the White Stripes is inevitable, but to really get a sense of what the Red Hook-based Boom Chick is all about, we leave that up to the math of the Mus-o-meter (and catch them at Trash Bar on Sunday).

Take the roaring, frenetic guitar of T-Rex’s “20th Century Boy” from the 1973 album “Tanx.” Then add …

The swinging dirty Delta blues of “The Originator” on Bo Diddley’s self-titled 1957 album. Then add …

The spooky Mississippi blues of Johnny Lee Hooker from “Boom Boom.” The sum?

Boom Chick’s debut album, “Show Pony.”

-Meredith Deliso

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Our exclusive Mus-o-meter registers Mia Riddle

By Meredith Deliso

Mia Riddle began as a solo artist, and while she’s added a full band over the past few years, her soft, emotive voice is still front and center (hear them for yourself tonight at Union Pool). To really get a sense of what she and her band is all about, we leave that up to the math of the Mus-o-meter.

Take the vulnerable vocal stylings of Jenny Lewis on her 2006 album “Rabbit Fur Coat.” Then add …

The sleepy, laid back alt-country of Wilco’s 2007 album, “Sky Blue Sky.” Then add …

The sad, soulful yearning of Neil Young’s classic country-tinged “Harvest.” The sum?

Mia Riddle and Her Band’s new album, “Ticonderoga.”

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Our exclusive Mus-o-meter registers Atlantic/Pacific

By Michelle Manetti

Atlantic/Pacific’s debut album, “Meet You New Love,” has that unusually cool and vibrant sound that makes you turn your head and listen in the first place, But to really get a sense of what this Downtown band is all about, we leave that up to the math of the Mus-o-meter.

Take the husky voice of Jesse Lacey on Brand New’s 2006 album “The God and Devil are Raging Inside Me.” Then add … 

The glitchy beat on Radiohead’s landmark 1997 album “OK Computer,” Then add … 

The poetic lyrics of Bright Eyes’ 2007 album “Cassadaga.” The sum?

Atlantic/Pacific’s debut, “Meet Your New Love.”

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The Mus-o-meter registers Sharon Van Etten's 'Epic'

By Meredith Deliso

With last year’s “Because I Was in Love,” Sharon Van Etten established herself as an authority on lovelorn folk songs. She’s quickly following that effort up with more sad, intimate songs on love and heartache that cut right through you (hear her tonight at the Rock Shop). But to really get a sense of what it’s all about, we leave that to the Mus-o-meter, who has been known to break a few hearts, too.

Take the wise-beyond-her-years, husky voice of Cat Power on “The Greatest.” Then add …

The thick emotion of Beirut’s sophomore album, “The Flying Club Cup.” Then add …

The sparse, guitar-heavy folk of Bon Iver’s 2008 debut, “For Emma, Forever Ago.” The result?

Sharon Van Etten’s sophomore album, “Epic.”

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Our exclusive Mus-o-meter registers Frankie Rose and the Outs

By Meredith Deliso

Frankie Rose has drifted from one retro-pop outfit to another — from Vivian Girls to Dum Dum Girls — but with The Outs, she’s further developed her reverb-drenched, lo-fi garage sound and head-in-the-clouds feel. To really get a sense of what it’s all about, we leave that up to the math of the Mus-o-meter (and hear them live tonight at Glasslands Gallery).

Take the irresistible, all-girl harmonies of The Shangri-Las’s 1964 debut, “Leader of the Pack.” Then add …

The hazy, distorted touches and searing guitars of Jesus and Mary Chain’s 1985 debut “Psychocandy.” Then add …

The Beach Boy’s 1967 album “Smiley Smile,” mainly for the psychedelic “Good Vibrations.” The sum?

Frankie Rose and the Out’s self-titled debut.

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