It can be hard to get noticed if you’re an indie band living in DC these days.

By Mary Madden, gonzoDC’s music expert.

Even though the grand punkfathers of Fugazi have been on hiatus for several years now, potentially leaving some breathing room for others to get a sound in edgewise, they keep collectively churning out scores of engaging, passionate music under the guise of “side projects” like The Evens or Joe Lally’s solo project. Whether they’re producing albums for Blonde Redhead or documentary films about Wilco, the kids just won’t quit. And, of course, we don’t want them to. Everything they touch is well worth your attention.Still, there’s so much more happening in the DC music scene these days, and Fugazi wants you to know this, too. Dischord Records, the label founded by Fugazi frontman Ian MacKaye, has been releasing albums from DC-based artists since 1980, and their current roster includes a delicious sampling of the capital’s best.

If you haven’t had a chance to check out the latest effort from renowned producer and former Jawbox and Burning Airlines mastermind, J. Robbins, that’s a great place to start. Channels honors the DC legacy of creating dissonant sounds mixed with defiant lyrics that are also often political in nature. The songs entertain a wide range of stylings, at times shifting moods several times during the course of one song (the DC tradition of flip-flopping happens in music, too). Yet, for all the glorious tension and fierce calls to engage, they do offer some sonic resolve. See, for example, “the Licensee” where Robbins baits the hook with guttural guitar only to rein you in with fuzzy chords and the sweet glaze of Janet Morgan’s vocals.

It’s hard to choose from among the many other talented artists gracing the Dischord label these days, but I would be remiss if I didn’t at least mention the amazing inaugural effort from Soccer Team. Soccer Team, while having absolutely nothing to do with soccer or team sports in general, is a clear winner – on and off the field. Their first and only release, Volunteered Civility and Professionalism is at once smart, sassy and roundly haunting. Fans of the Beta Band will not be disappointed. Sadly though, they only had a handful of shows before frontman Ryan Nelson had to move away to Michigan. But don’t let his absence keep your heart from growing ever fonder of this lovely, timeless record.

Of course, Dischord is not the only fountain from which DC’s prolific music scene flows, and there are reasons to look elsewhere for sounds that break away from the Dischord stamp. These United States are one such shining example of just how much local music goodness there is to go around. As one band among the family of artists that make up The Federal Reserve collective (see also: Kitty Hawk, Vandaveer, Revival, Rose and Let’s French. These United States have quietly emerged as the one of the DC music scene’s most notable superpowers. With an historic nod to Gram Parson’s pioneering efforts to infuse country with a rock aesthetic and a lateral tap on M. Ward’s shoulder, TUS is both nostalgic and contemporary. If there is an echo from the most promising work emerging from the new folk revival, it is most certainly being heard here. One writer for DC’s City Paper provided perhaps the most concise description of TUS that I’ve seen to date: “Jangly Railyard WordPop.” Wondering what that means? See for yourself: These United States play February 15 at DC9.