Basement Jaxx

SCARS
Ultra/XL

Remember the rush you got the first time you heard Basement Jaxx’ Rooty disc? “Romeo” made us bounce and swoon; “Where’s Your Head At?” proved electro could be punk and vicious; and “Do Your Thing” married diva vocals with footstomping, jazzy rhythms. Well, listening to Scars, the only thing you might rush to do is scratch your head. It’s as if the Brixton duo has just simply lost their mojo, while gathering up 14 different guest vocalists on songs that struggle to stick in your head. Or, maybe a five-song EP would’ve been genius? Because “Raindrops” (with Simon Buxton himself singing) has a supersized, falsetto singalong hook; Sam Sparro’s gorgeous croon is allowed to flourish on the energetic “Feelings Gone;” Lightspeed Champion shine on the synth-coustic “My Turn;” and Santigold anchors the reggae dupstep pulse of “Saga.” Hell, even Yoko Ono’s turn on the hippy-dippy “Day of the Sunflowers” is a quirky and fun listen. But then there’s Yo! Majesty (who I love), reinterpolating the lyrics to Flashdance’s “Maniac” on the stupefying “Twerk,” and the last two songs which are total throwaways. My biggest complaint is that the beats just lack punch, and the melodies lack sparkle. Most frustrating about Scars is how the duo reference some of their earlier hits yet fail to innovate in the way their previous works did. This might be a ‘grower not a shower’ kind of effort, but I’ve yet to grow into it. —Paul V.

A Fine Frenzy

BOMB IN A BIRDCAGE
Virgin

In Nicole Holofcener’s minor indie classic Walking and Talking, a fiancé dismisses his girlfriend’s collection of traveling CDs as “vagina music.” At the time, this encompassed Frenté and a number of soft-rock pseudo-folkies on the verge of creating the genre known as “twee.” Alison Sudol (aka A Fine Frenzy) has all the hallmarks to be twee—the girlish voice, a folksy swing and the kind of relationship-heavy songs that get played ad nauseam on Grey’s Anatomy and The Hills. Yet she escapes the pejorative associations of wimp rock on her second release, Bomb in a Birdcage, by being just eccentric enough to steer clear of facile associations. “New Heights” employs a circular Coldplay-esque piano run over a bass-heavy bottom for pop nirvana. “Electric Twist” is a hand-clapping shot of strangeness that starts with a reggae swing before escalating to a Florence + the Machine-type howl. And “Stood Up” is solid alt-rock; the song where Sudol claims she tapped into her inner rock chick. The up-tempo material is strong throughout; it’s only when Sudol retreats to her trusty piano that the atmosphere turns mawkish—though these few songs are more like resting places than blemishes on a sturdy second CD. —Dan Loughry

Air

LOVE 2
Astralwerks

Has any band ever been more aptly named than the French electro duo Air? Sure, it’s an acronym for Amour, Imagination, Rêve (Love, Imagination, Dream), but it fits as well for the imperceptible stuff we breathe. Nicolas Godin and Jean-Benoît Dunckel have been creating easy-listening soundscapes for the masses since 1997’s Premiers Symptômes. The blueprint hasn’t changed much for Love 2, though it’s the first time the Frenchmen have handled all the vocals themselves. And perhaps because they are in complete control, the songs—both instrumental wanderings and tighter pop structures—flow effortlessly from one to the next in a way they haven’t bested since their 1999 hit Moon Safari. The songs with lyrics are light and effervescent—from the sparkly “Sing Sang Sung” to the buoyant “Love,” which repeats its title over a bed of pillowy synths—but they’re not the raison d’etre here. It’s the instrumentals that capture your attention; from the dense, vaguely threatening “Night Hunter” to the piano glissandos that pepper the traveling landscape of “Tropical Disease.” If there’s a drawback to Love 2, and the output of Air in general, it’s that of significance. Beautifully crafted as they are, their songs vanish as quickly as they appear. —D.L.

Brandi Carlile

GIVE UP THE CHOST
Columbia

Following the critical and chat success of 2007’s The Story, singer-songwriter Brandi Carlile returns with her third album, Give Up the Ghost, and the 11-track set is an outstanding blend of musical genres that doesn’t disappoint. Featuring a Grand Ole Opry-style duet with her idol Elton John on “Caroline,” Ghost features toe-tapping harmonies—like “Caroline”—and deeply heartfelt ballads like “Before It Breaks.” A common thread throughout the release is Carlile’s vast vocal range and heartfelt lyrics like those from “I Will” and “Touching the Ground.” Ghost’s first single, “Dreams,” rivals everything that made Carlile’s The Story such a crossover hit: Strong harmonies, sweet melodies and her amazing range that shatters the stereotype of the lesbian folk singer. The Americana-infused “Dying Day” will pick you up after Carlile’s heartbreaking lyrics from “Pride and Joy.” Even without the amazing guest vocalists—which includes Amy Ray of the Indigo Girls—Carlile proves again that she’s a force to be reckoned with. From start to finish, Ghost will haunt you by becoming one of those albums where every song is a winner. —Lesley Goldberg

Morningwood

DIAMONDS & STUDS
Fontana

If you have ever seen Morningwood perform live, then you already know that Chantal Claret’s energy is nearly explosive. Think Shirley Manson meets Karen O. With powerful vocals and irresistible arrangements, Diamonds & Studs encapsulates a polished version of the band’s on-stage persona. It doesn’t feel as if the duo is trying to reinvent the restraints of any one genre, nor should they want to. Rather, it feels like they are tinkering with their comfort zone and exploring the depth and breadth of their sound. From the moment the album opener “Best Of Me” begins, it’s nearly impossible to resist the urge to keep rhythm with movement of miscellaneous body parts. A substantial amount of this album’s success comes in the offerings of Pedro Yanowitz on drums, percussion, bass and keys. Diamonds keeps pace with itself through memorable tracks, namely “Killer Life,” “Sugarbaby,” “Bipolar Bear” and “That’s My Tune.” Surely, if this album is the party, then the album closer, “Cat In A Box,” is the morning after; a rewardingly more melodic track than it’s predecessors. Contrary to the nomenclature of their name, this album demonstrates that Morningwood are not stiff; in fact they rock hard. —Francis Sanchez

Vitalic

FLASHMOB
PIAS

What do you think of a techno artist who doesn't listen to techno, “because it's boring”? I think it makes me love Vitalic (aka Frenchman Pascal Arbez) even more, because there's nothing boring about this long-awaited follow-up to 2005's OK Cowboy. The aptly titled Flashmob has many strong ties to the electroclash throb of his 2001 debut (most notably the pulsating, Ladytron-esque "One Above One," sung by longtime collaborator Linda Lamb), along with all the Vitalic hallmarks—mentalist beats, pummeling synth riffs, oscillating metallic stabs and quirky mechanical effects. For sure, it’s a ravetastic experience. Lead single "Your Disco Song" is a playful 8-bit a la Crystal Castles; "Second Lives" has a Balearic bounce like a rubber glitterball tossed around a basketball court; and "Chicken Lady" explodes like Prince cutting a Casio open with a chainsaw. Trust—what sounds like squelch and techno filth on paper will command maximum volume in your headphones. Even with Vitalic's dashes of Daft Punk, Justice and Air, he actually has more in common with cosmic disco pioneers like Jean-Michele Jarre and Giorgio Moroder, taking cues from the past yet still offering the most futuristic electronic beats you’ll hear this decade. If only Basement Jaxx could follow his lead. —P.V.