Neglected artists of 2014: tracks and bands for new academic year

Similar to the plight of the avid moviegoer, the summer can leave a music lover unsatisfied, exhausted and disappointed. With a slew of generic, over-produced pop nuggets dominating every radio and Pandora station, finding new and exciting music seems impossible. Even tracks that are only a few months old, once prized as gems, are played ad infinitum until even the opening notes can induce nausea (we're looking at you, "Fancy").

In the midst of this musical wasteland populated with the sickly sweet musings of up-and-coming tweens, rappers and veterans, it can be difficult for attentive and interested listeners to broaden their musical horizons with some new tunes. With this in mind, the Daily Arts section has decided to offer you a go-to guide of some deserving bands that have been all but ignored by the musical powers that be so far in 2014. Here's hoping that this list brings something truly exciting to both new and returning Jumbos. We think you'll be pleased and refreshed — even the most dedicated Pitchfork browsers among you.

The Unicorns: Born out of the Montreal music scene in the early 2000s, The Unicorns are hard to place into any single genre. Shirking all the conventions of their contemporaries in the prolific Montreal music scene (see Godspeed You!, Black Emperor and Wolf Parade), The Unicorns cultivated a more melancholic sound, littered with the dark realizations of childhood and adolescence. Their sophomore album — "Who Will Cut Our Hair When We're Gone?" — essentially reworks their debut, "Unicorns are People Too" (2003). This new take is an indie-pop-rock triumph that fires on all cylinders. The second album, first released later in 2003, is frantic and unpredictable with loud, crashing tracks filled with shiny synth riffs like "The Clap" and "Inoculate the Innocuous." In contrast, songs like "Tuff Luff" and "Ghost Mountain" are delicate and threatening; interspersed throughout, these provide a welcome change of pace.

But, for all its genius, "Who Will Cut Our Hair When We're Gone?" was released over a decade ago. Why write about The Unicorns now? Indeed, the group — riddled withartistic differences and angst — did disband almost immediately after their sophomore album tour across North America, even after charming critics and garnering a substantial cult following. Well, it seems that The Unicorns are back ... at least for now. After releasing a re-mastered version of their hit, "Who Will Cut Our Hair When We're Gone?" in early 2014, the group announced that they would open for Arcade Fire in a handful of shows in California and NYC, part of that band's "Reflektor" tour. If you're looking to find a band that has stood the test of time and may just make a stunning comeback, look no further than The Unicorns.

Mapei: After a series of faltered beginnings and unsatisfactory projects, American-born Swedish artist Mapei seems poised to take on 2014 as the pop-rap indie act to beat. Mapei is best known for her single "Don't Wait," released in 2013. With a funky beat, harmonies of incredible range and unapologetic electro-synth influences, the track is sweet and important, earning Mapei plenty of grassroots hype. After releasing an EP as a rapper in 2009 to mixed reviews, Mapei began working on a full-length album. However, she was dissatisfied with the finished product and scrapped the project to travel the world and gain inspiration and perspective. It seems that this walkabout has already benefitted Mapei — the release of "Don't Wait" propelled the artist's music into a realm of extreme anticipation.

Set to release her full-length debut in just a few weeks, Mapei's star seems to be rising. Though it is hard to quantify or legitimize mere potential, it is easy to see that Mapei — with her sultry voice, undeniable rapping skills and fearless production — has something to offer that the current music scene lacks: style. In anticipation of the new release, she is flirting with anxious fans, teasing them with random, unexpected tracks. Two examples include "Change," which dropped at the beginning of this summer, and "Believe" which came out close to the end. These seasonal bookends are promising and strategically increase the hype surrounding Mapei's upcoming debut.

Cataldo: Cataldo, a Seattle-based indie-pop artist, is a band shrouded in the delicate mystery from which indie-darlings always seem to emerge. After releasing a debut attempt, "Gilded Oldies," in March of this year, Cataldo laid low and logged the tireless man-hours of the indie-music circuit. Spearheaded by project leader Eric Anderson, Cataldo has plugged itself into the collective psyche of indie-pop lovers everywhere through various appearances on radio shows and a solid online presence on both Bandcamp and sound cloud. Curiously, many of Cataldo's performers are also involved in outside artistic projects. In fact, group member Colin Richey is the drummer for two different groups, Cataldo and indie folk band Hey Marseilles.

Currently, Cataldo is riding just beneath the surface of indie stardom, but its unique and catchy sound may soon launch it to prominence. Peppered with feel-good melodies and driving percussion, Cataldo's music confronts the starkness and tediousness of existence with skillful lyricism. On the "Gilded Oldies" title track, Anderson — a heart-breaking crooner with an addictive voice — warbles, "But all God's creatures have their bridge to burn / This is mine ... smoldering." Cataldo's songs are nostalgic and delicate with lyrics that are simply unmissable.