Talk about better living through technology. Riding the New York City subway system just got a little more pleasant--thanks to a Brooklyn buzz band named Atomic Tom that has taken B Train busking to a whole other level with a handful of iPhones and whole lot of ingenuity.

The band recently had their musical instruments stolen, but in a brilliant lemonade-from-lemons move, that didn't stop them from jamming. And now, ironically, their iPhone-assisted music has garnered them more attention than their regular recordings ever did, as viral footage of them entertaining subway commuters with their iPhones and a battery-powered portable speaker system, playing their single "Take Me Out," makes it way around the Web.

This here's a "phoned-in" performance that actually works.

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Film School are not technically a new act--they formed in San Francisco in 1998, and their first album came out in 2001--but after a three-year recording hiatus and a few lineup changes, they sure sound like a band reborn.

While the dreampop quintet's just-released fourth album, Fission, features the same band members that played on 2007's Hideout, Fission's fizzy, fuzzy sound is notably different--more "pop" than "dream." Yes, Film School's gazes remain unblinkingly focused on their shoes (their usual influences--Jesus & Mary Chain, My Bloody Valentine, Lush--are still easily discernible here), but they've also expanded their musical vision, adding beats and synths for a lighter, groovier, more modern vibe.

Much of this sonic makeover is due to the the increased participation of angel-voiced bassist Lorelei Plotczyk (pictured flipping her hair at right), who joined Film School for Hideout and on this latest release contributes some of the finest tracks. Her ethereal, lush/Lush vocals

David Bowie's influence is undeniable. Well, duh. Talk about stating the obvious. Countless new wave, art-rock, and glam-rock bands of the '80s, and electronic, dance, and indie acts of the past decade (including obvious disciple/worshipper Trent Reznor and the occasionally lightning-bolt-faced Lady Gaga), owe Mr. Stardust an enormous and basically unpayable debt. And even now, the great bi-colored-eyed legend continues to inspire today's baby bands--despite the fact that he's pretty much a rock recluse now and hasn't released a new studio album since 2003's Reality (meaning that many of these baby bands were almost literally babies, or at least tweens, when Bowie was still making the scene).

This is why the two-disc covers compilation We Were So Turned On: A Tribute To David Bowie is so impressive. Buzz artists as disparate Edward Sharpe & The Magnetic Zeros, Vivian Girls, Chairlift, Warpaint, Carla Bruni, Devendra Banhart, Keren Ann, and A Place To Bury Strangers have all recorded

Rock 'n' roll history is filled with iconic album cover images--Sticky Fingers' functional zipper, the Velvet Underground's Warholian banana, Nevermind's dollar-chasing pool baby, Sgt. Pepper's collage-like group shot, Rio's extremely '80s Nagel print--but all of those covers just look like cheapo clip art next to the recently unveiled genius artwork for the Klaxons' sophomore album, Surfing The Void, which just came out in the U.K.:

Really now, fans of British nu-ravers the Klaxons had reason enough to rejoice when they learned that the group's frustratingly delayed follow-up to 2007's Mercury Prize-winning Myths Of The Near Future was finally coming out on August 30, 2010. Such  news was a relief, after the album had gotten off to several false starts in 2008 and rumors had swirled that the Klaxons' label had demanded that some of its cuts be re-recorded because they were deemed "too experimental for release."

But this album cover? It was too awesome NOT to release!

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