“Swoon,” CD by Silversun Pickups
There hasn’t been follow-up pressure like this in a while. Silversun Pickups’ 2006 full-length debut “Carnavas” was an indie rock hit, generating more than two years of radio play, and, perhaps more tellingly, earning the band spots on “Rock Band 2” and “Guitar Hero World Tour.” The record seemed to capture a point in time, even if Silversun Pickups borrowed from 1990s grunge and alt-rock for its otherwise unique sound. The Silver Lake band’s second full release, “Swoon,” is out this week. Trappings of success are evident: a bigger recording budget, polished production, even strings on some songs. It’s not quite “Carnavas,” and some who latched on after the first record broke through might be disappointed. But if you can set aside comparisons, “Swoon” is a solid record of well thought-out songs and unique music that at times echoes Smashing Pumpkins, Radiohead and even Jimi Hendrix. The more elaborate production of “Swoon” eases some of the band’s rough edges, giving some songs a lush, ethereal quality, like psychedelic Brooklyn duo MGMT or British easy listening alt-rock band Cocteau Twins. The closest thing to “Carnavas” is the first single “Panic Switch,” which has the same wailing guitar, atmospheric keyboards, thumping bass and driving drums behind “Lazy Eye” and “Well Thought Out Twinkles,” the strongest tracks from the band’s debut. Other highlights: the edgy but pretty “It’s Nice to Know You Work Alone” and “Sort of.” Singer-guitarist Brian Aubert’s vocals range from wispy to maniacal yells. Lyrically, it’s hard to make heads or tails of the songs,most of the words probably mean more to Aubert than anyone else. “Swoon” has its lulls, particularly toward the end. But in some ways, “Swoon” is just as good as “Carnavas,” even if the novelty factor that helped Silversun Pickups define indie rock at the middle of the decade has worn off.
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Michael Lyster
“Grace/Wastelands,” CD by Pete Doherty
Pete Doherty, Britain’s most famous junkie who isn’t Amy Winehouse, seems to have adjusted his meds. His first solo record, “Grace/Wastelands,” is a listless, at times lifeless, affair. It’s built around Doherty and an acoustic guitar and lacks any of the Clash-inspired English rock of his former band, The Libertines, or his latest group, Babyshambles. Fans of Doherty’s work in those bands are likely to be disappointed. But the record has its moments. “Last of the English Roses” is about as lively as it gets, with electric guitar and a dub beat. “Palace of Bones” is next with its bluesy slide guitar. Among the muted folk songs that dominate, “A Little Death Around the Eyes” stands out with its dark string arrangement and Doherty’s cockney croon. The record is helped by Blur guitarist Graham Coxon, who’s on nearly every song, and veteran English rock producer Stephen Street. Doherty’s songwriting and performance are good, adding to his tragic troubadour persona. But “Grace/Wastelands” may be best suited for listening to at Starbucks, where its sleepy drone can be balanced with a double espresso.
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Michael Lyster
“The Planets are Blasted,” CD by Boston Spaceships
Ohio’s Robert Pollard, leader of influential indie rockers Guided by Voices, has released close to a dozen albums in the past two years, both as a solo artist and under a variety of guises, including his latest incarnation, the Boston Spaceships. “The Planets are Blasted” is the second album from the Spaceships, and it’s arguably the most consistently fun album Pollard’s released since he disbanded his old band about four years ago. Most Pollard albums take a few listens to come to grips with. That’s not the case here. The 14 up-tempo, guitar-driven songs are catchy, hook-filled and fly by in a little more than a half-hour. Highlights bookend the album with the opener, “Canned Food Demons,” and closer, “Heavy Crown.” Listeners who like straightforward pop-rock, and are comfortable listening to older classics from The Who as well as more modern bands such as The Strokes, should find much to like here.
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Mark Mueller
