Black Mountain – In The Future (Jagjaguwar)
Black Mountain are Chris Martin-approved, and it makes you wonder what the Coldplay frontman was thinking when he chose the Vancouver-based psych-rockers to play for throngs of Britpop fans and their parents on 2005’s Twisted Logic Tour. The mediocrity of In The Future is an example of Zeppelin- esque stoner rock and the ways in which it can go horribly awry. While the massive riffs of “Evil Ways” make it a rocker of the finest kind, untamed ambition plagues the record, making way for a collection of meandering epics. “Bright Lights” is nearly 17 minutes long, yet only one third of it is good material. Conversely, succinct tracks like “Wild Wind” provide a clear reminder of how refreshing rock n’ roll can be when it doesn’t get bogged down by self-indulgence. —Rob Duffy
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James Murdoch – In Transit (Indica/Aquarius)
The first thing that caught my attention about James Murdoch’s new album, In Transit, was Hawksley Workman’s credit for both producing and performing on the record. The album begins with the upbeat and catchy “You Get What You Deserve,” characterized by solid vocals and guitar riffs, even tambourines. The mellower “Kings and Queens,” a melodic ballad showcasing retro synths, follows suit. “Transportation” features sweeping electric and bass guitars, perfectly accompanied by intricate, interchanging percussion. The sound is catchy, the vocals are at times heartbreaking, and Murdoch’s lyrics are written to take the listener on a journey. At times leaning towards the twangy mainstream pop-rock of Matchbox 20, Murdoch could also be compared to James Blunt (if Blunt took it easy on the estrogen pills). Overall, In Transit is a solid, versatile album that’s easy on the ears. Murdoch is not really doing anything new here but what he does, he does well. —Natalie Beliakov
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My Shaky Jane – Oh! The Pretty Things (Independent)
If the title of My Shaky Jane’s first fulllength album sounds familiar, it’s no coincidence: Oh! The Pretty Things used to be the band’s name until last year. The album holds indie caché, while the solid hooks and raw vocals play on their affinity for ’60s pop. While listening to the first track, “The Books That She Carries,” I thought the song was dragging on a little long. Then I realized I was already listening to the second track. While being energetic and upbeat, most tracks sounded incredibly monotonous, mechanical, as if they lack soul. Despite all this, My Shaky Jane could very well have some potential if they wind up in the hands of talented producers. But until this happens, the best word to describe this album is “forgettable.” —NB
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Nicole Atkins – Neptune City (Columbia)
Nicole Atkins’ Neptune City is a surprisingly good record with no filler, a rare feat in the iTunes mp3-blog age where singles matter more than cohesion. Atkins sings in an expressive croons, which suits her warm ’70s-inspired tunes. Sporting lush melodies and romantic strings, there’s strong emphasis on musicianship. From the anthematic “Brooklyn’s on Fire” that lead a rock musical, to heartbreaking ballad “The Way That It Is,” Atkins has a varied, but consistent record that could easily withstand multiple listens. —Alicia Chow
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The Dream – Love/Hate (Def Jam)
On his debut Love/Hate, The Dream (a.k.a. Terius Nash, a.k.a. that guy who wrote “Umbrella”) crafts such catchy pop/R&B songs that it’s very tempting to call him the next R. Kelly (sorry T-Pain). In addition to possessing Kelly’s incredible knack for writing hooks, Nash is also capable of making the most robotic and processed vocals sound soulful. The auto-tuned harmonies are frequently stunning, particularly on “Shawty Is Da Shit” where they float over a bouncy, piano-led beat. Sure, Love/Hate contains many moments of clunky lyricism, but does that really matter when the accompanying melodies are so intoxicating? —Khary Mathurin
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Pitbull – The Boatlift (TVT Records)
Cuban-American rapper and hip hop artist Pitbull has successfully bridged the gap between his Latin roots and urban American influences in his infectious album, The Boatlift. Blending the worlds of reggaeton and crunk, Pit appeals to the party people with the massive club hit, “The Anthem” featuring Lil Jon, along with other fierce tracks including “Get Up/Levantate” and “Fuego.” Pit also makes an honest attempt to soften things up with R&B ballads “Secret Admirer” and “Tell Me,” but when pitted (no pun intended) against an upbeat tone, they merely serve as cheesy and ineffective fi ller. Although Pit, like any other stereotypical rapper, busts out with oversexed material like “Stripper Pole,” he’s created one hell of a party. -Carla Kavinta
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Kamera – Resurrection (Nettwerk Records)
In an effort to distinguish themselves from the vapidity of mainstream pop, Sweden’s Kamera may have gone too far. It only takes the listener a moment to realize that this European quintet is an ’80s revival band, comparable to the likes of Duran Duran or The Pet Shop Boys. In fact, the entire album could score a retro wedding, particularly track “Love Surrounds Us.” Despite the group’s overuse of synthesizers, they do score points with the solid rhythms and catchy melodies of “Lies” and “Disconnected.” —CK
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The thrills – Teenager (Virgin)
Life’s rough for young adults, but The Thrills make things right with their third album that acts as a soundtrack to the life of any adolescent. Some say their latest instalment is too similar to their previous efforts, but I think they’ve really evolved. A larger range of instrumentation is incorporated into the mix with keys, harmonica, mandolin, and banjo. These inclusions provide a mix of traditional Irish music and modern indie pop. The inexperienced and awkward teen stands out through nostalgic lyrics that delve into the pains of holding a job, keeping a girl, getting defl owered, and trying to live in the boring-ass suburbs. Conor Deasy’s voice is even more enthralling, and this guy isn’t afraid to hit the high notes. —Damanjit Lamba
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Kate Maki – On High (Independent)
Former teacher turned sensuous songstress, Kate Maki delivers sultry vocals that will sooth the heart of any youngster partial to a mix of folk and alternative. Maki goes from country in “Blue Morning” to funkier jams in “Beyond the Sun.” What’s great is that her versatile voice tackles these different genres with ease, although at times, the long instrumentals seem to lag. With musical contributions from fellow Canadians Dale Murray and Nathan Lawr, why enlighten the minds of children when you can make sweet, sweet music —Dl
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