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Beyond the fact that her voice is deep enough for her to front Crash Test Dummies, there's nothing particularly compelling about Scarlett Johansson's singing: As one scene in Lost in Translation confirmed, she's about as capable as a karaoke enthusiast needs to be.

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Sounding simultaneously overwrought and half-baked, the second album from Essex, England's Sam Duckworth is a depressingly patchy affair, almost entirely lacking in the underdog charms that made his 2006 debut so appealing. Multiculti electronica producer Nitin Sawhney tempers Duckworth's acoustic guitar and overearnest lyrics with glorious string and brass arrangements.

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At first listen, this Brooklyn-based group's fourth record sounds cut from the same sessions as 2006's lustrously arty Two Thousand; but where its predecessor relied on rigid crescendos, Swimming relaxes.

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Is Jack White better off working with only one other person?

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Two years after the death of Grant McLennan, his collaborator in beloved indie rockers the Go-Betweens, Forster gets back to work as a solo artist.

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Philadelphia hosts a booming community of psychedelic folksingers, and much like locals Espers (whose Greg Weeks produces here), Margaret Wienk is as influenced by the spacey thrills of the Incredible String Band as by the down-home mumbles of the Folkways catalog.