The Roots, 'Rising Down' (Def Jam)
Philly crew masterfully reconcile their conflicted mission.
By Will Dukes 05.15.08 2:32 PM
As a general rule, Roots albums don't offer immediate gratification. Their concept-driven themes demand repeat listens, which doubtless can be attributed to the complex, good-cop/Bad Lieutenant dichotomy between the band's founding members, drummer/producer ?uestlove and MC Black Thought.
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Gossip, 'Live in Liverpool' (Music With a Twist/Columbia)
Despite Brits' adoration, punky belter could use a band boost.
By Phoebe Reilly 05.15.08 2:29 PM
If this CD-plus-DVD package included the tinsel wig and sweat-soaked leopard unitard that singer Beth Ditto wore at this July 2007 U.K. show, maybe it could've approximated the experience of Ditto dancing herself into a disrobing fever. Instead, it's her vocals that are left exposed -- neither the band's guitarist nor the drummer can match the intensity of her bellow.
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Flight of the Conchords, 'Flight of the Conchords' (Sub Pop)
Despite appearances, New Zealanders also funny on record.
By Lindsey Thomas 05.15.08 2:24 PM
This New Zealand duo dignify the term "novelty band," whether spoofing Pet Shop Boys or decrying the high cost of sneakers made by "little slave kids" in a socially conscious soul anthem. Divorced from their HBO series, the songs have room to stretch a little, only occasionally sacrificing context.
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The Kooks, 'Konk' (Astralwerks)
NME heartthrobs still in search of their "woo-hoo" moment.
By Josh Modell 05.15.08 2:22 PM
These British phenoms' energetic pop-rock tunes are eminently listenable and sometimes downright joyous (album opener "See the Sun"), but nary a nanosecond of the Kooks' second album could be called original (the Strokes again, eh?). And for now, Luke Pritchard and Co.
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El Perro Del Mar, 'From the Valley to the Stars' (The Control Group)
Swedish pop princess crafts her own icily morose Motown.
By William Goodman 05.15.08 2:22 PM
Aside from the bouncing ivories of "Somebody's Baby" and the girl-group harmonies of groovy gem "How Did We Forget?" Sarah Assbring's third LP ditches the Phil Spector styling behind her 2006 self-titled breakout. Instead, she goes for arty, sparse concepts and downcast instrumentation -- church organs, strings, xylophones, and flutes -- to accompany her tenderly angelic melodrama.
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The Death Set, 'Worldwide' (Counter)
Transplanted twosome screech along like ecstatic punk pups.
By Spencer Kornhaber 05.15.08 2:20 PM
Like seemingly everyone emerging from Baltimore's pogo-stick-and-glow-stick indie music scene, Australian natives the Death Set rock out à la Looney Tunes -- maniacal, colorful, and giddy. They're punks with lo-fi drum machines and keyboards, crafting spastic sing-alongs that channel the Blood Brothers and rarely top two minutes.
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