These contemporary indie veterans have earned their keep as one of the patron saints of modern alternative folk rock. Each of their four albums displays a certain evolution in their sound, and their latest record Permalight sees them heading toward a louder and more expansive aesthetic.

Rogue Wave began in 2002 when front man Zach Schwartz visited friends in New York City to record new material he’d been working on. Those recordings would eventually serve as the foundation of Rogue Wave’s first LP, Out of the Shadow. Schwartz returned from New York to his home in California and assembled a group of musicians to fill out the sound and bring the songs he’d recorded back East to life.

This is where Rogue Wave got its official start, however in the 7 years of its existence the band has gone through so many trials and tribulations that it seems they’ve started anew several times. After their band member Evan Farrell left to tend to other musical projects, he was found dead from massive smoke inhalation, during a fire. The band also experienced trouble when their label, Sub Pop, dropped them despite a successful following and generous buzz. They’ve since found a new home at Jack Johnson’s label Brushfire Records. Zach Schwartz, the lead singer, also has endured serious back injuries recently.

All of these hurdles would seem to give them a green light to create lamentable self-indulgent music, however they’ve managed to stay above their own self-pity and continuously produce quality cerebral pop music. A band like Rogue Wave demonstrates that a little tenacity and great song writing will allow any band to endure the stormiest of weather.

You know what niche of indie pop I can’t get enough of? Husband and wife duos. I mean, think about it, the songs are always more intimate and personal. The music is always more complimentary and balanced, and the people on stage playing it are usually the happiest couple in the world. There’s something about combining music and love that just makes sense. With that in mind, may I present the Woodlands.

he Woodlands is Hannah Robertson and Samuel Robertson, both of whom claim the guitar and voice as their instruments. Together, they have traveled the world, returned home to Portland, OR, and created music from the heart. The couple began writing songs together after marrying and backpacking through Europe.  They experimented with transforming their shared experience and wonder into delicate and harmonious bits of indie pop. But it would be some time before these ideas fully matured.

For soon enough, the Robertsons again found themselves drawn to the world around them, this time in Central America where they even volunteered at an orphanage. Can you get any nicer? I submit that you cannot. After some time, the pair returned again to Portland to finally realize their enduring desire to make music and share a different kind of joy with the world.

That joy arrived in 2009, in the form of the Woodland’s debut self-titled album, which they recorded and released on their own. The record contains musing, melody, and intimacy galore, but it also carries a sincere strength that comes naturally to a couple so deeply entwined with another. In hushed tones and layered storytelling, the Woodlands share a tranquil musical bond that’s easy to see and even easier to love.

Even a cursory run-through of Harlem’s recordings makes plain the band’s love of playing—and listening to—music. The trio rolls through sixteen tracks on Hippies, their second full-length, with each cut a nugget of garage-y rock filled with allusions to 50s girl groups, 60s pop, psychedelia, punk, and just about everything in between.

Harlem songs are stripped-down affairs, propelled by raw energy, chiming guitars and expressive vocals. The band traffics in driving rhythms and distorted chords, with most tunes barely pushing more than a couple minutes in length. Oftentimes the fellas sound like they’re in a hurry to run off a cliff, but on Hippies they manage to smartly throw in a few slower-tempo, lovesick numbers to balance things out.

Harlem——Coomers (nee Michael Coomer), Curtis O’Mara and Jose Boyer—started building their following one song at a time with their “Cover of the Month Club,” a long-running project in which the band produces their own loose versions of a wide array of songs from the likes of Devo, 60s girl group The Dixie Cups, Paul Revere and the Raiders—even Detroit techno group Drexciya. They subsequently self-release the 4-track bedroom recordings, offering them up for free on their Myspace page.

Hippies is both a welcome progression from and complement to their debut, Free Drugs . The album is due out April 6th on Matador Records.