Keane - Perfect Symmetry

Perfect Symmetry (2008, Island) Keane's third studio album. ***

Radical departures are usually a curse. But when you're a band that doesn't have much to lose (beyond your fanbase), there isn't much harm in trying. Train hasn't learned this lesson, and the Killers did the hard way; they sacrificed undeserved critical praise to get more airtime on MTV with Sam's Town. Keane, however, couldn't make another pseudo-meaningful album without everyone going "You're gayer than Coldplay." So what did they do? Take a trip back to the 80's.

The band comes bursting in with the opener "Spiralling," a whirlwind of energy wrapped neatly into a potential radio-friendly single. It's a fog of synths, interlooping and loud, with Tom Chaplin's vocals soaring above it all. It's this kind of energy that is hard to attain in earnest, and even harder to maintain. That's where Keane fails. Perfect Symmetry certainly has fine moments, but its relentlessness in trying to keep an eleven-track album bursting and bubbling with new wave excitement is too tiring, even for the band themselves. The middle of the album sags when mediocre songs like "Playing Along" come up. An "A" for the effort, but the transformation didn't completely pay off. But as I always say, I salute Keane for trying something new.

The Streets - Everything is Borrowed

Everything is Borrowed (2008, 679) The Streets' fourth studio album. **1/2

Mike Skinner, better known as his alias the Streets, tries to hit hard with Everything is Borrowed. He brings up plenty of issues; religion, global warming, danger of right-wing politics, just to name a few. His delivery is less than spectacular. Not only is his heavy British accent annoying, he even fails to come up with interesting background music, which is supposed to help distinguish hip-hop from rap. On top of all this, Skinner's style is lazy, more like an average slam poetry convention but without the passion. Sure, there's an interesting synth progression on the opening track, but beyond that he fails to do anything that interesting. His 'messages' are less than interesting and have been said far better. So what's left? A meaningless entry by a near-meaningless artist.

Jenny Lewis - Acid Tongue

Acid Tongue (2008, Warner Bros.) Jenny Lewis's second studio album. ****1/2

Somewhere down the Rilo Kiley road Jenny Lewis realized she wanted - and was able - to do more than just indie rock. And so for her second solo album, Acid Tongue, she dabbles with alternative country and southern rock, garnering from all the spirits of the late 60's and early 70's, as there are bits of Janis Joplin, Eric Clapton, Joe Cocker, and Delaney & Bonnie (among countless others) scattered all over this album. Lewis isn't without her own voice, though, as she masterfully crafts stories into every song.

Things start off with the relatively peaceful "Black Sand," and this peace is only interrupted by the eight-minute "Next Messiah," a sprawling, evolving number backed by three distinct sections that, while not seamless, are nonetheless engaging. Things truly become interesting with the title track, performed with an acoustic guitar and with backup harmonies as lovely as CSNY. Lewis's brilliant decision to leave the song as bare as it is gives it all the personality it needs; a story of a troubled woman trying to get out, alone and cold. The far more energetic "See Fernando" follows perfectly, and comes back down again for "Godspeed," where Lewis tells the age-old story of trying to help someone who doesn't want it. Naturally, after a somber moment it jumps into country ridiculousness with "Carpetbaggers," about hookers and soldiers.

Lewis didn't try anything fancy on Acid Tongue, as it is essentially a collection of great songs performed without overly shiny production. In fact, the only way to give the album a more intimate feeling than it already has would be to have it in the vein of Delaney & Bonnie's Hotel Shot. Regardless, the shining moments of Acid Tongue are breathtaking in their simplicity, a strong suggestion that there is always a new song to be heard, and it doesn't take production room tricks. (Black Sand, Acid Tongue, Godspeed)

The Nightwatchman - The Fabled City

The Fabled City (Red Ink) The Nightwatchman's second studio album. ****

Tom Morello returns from his solo debut, One Man Revolution, with another batch of political folk ditties. Unlike his debut, The Fabled City incorporates far more than just his acoustic guitar. It’s still there, as is his signature growling baritone, but the embrace of the harmonica, lively drums, and electric guitar and bass enhance the experience. The sound being louder may not make his message louder, but it still holds all the sincerity that One Man Revolution did. “I will always stand beside you/Defend you and mend you,” is a promise Morello wants to keep, as he always seems genuine about his care for people.

Ben Folds - Way to Normal

Way to Normal (Epic) Ben Folds' third studio album. ***1/2

After several years, the piano rocking god has returned with a new slew of tunes and a new persona. Rockin’ the Suburbs (his first solo album) saw him as the spunky nerd poking fun at the MTV-watching high school kids, and Songs for Silverman had a calmer, father-like tone. On Way to Normal, Ben Folds has steeped into the more absurd, sometimes irrationally angry at the world. The most marked difference, though, is the use of electronics. No track better emphasizes that than “Free Coffee,” which is a fine track, but being surrounded by piano-heavy songs makes it feel out of place. The peak of the album is its center, the string-oriented “Cologne,” which harks back to the days of songs like “Army” from Ben Folds Five. This may be a transitional period for Folds, who, even with a less-than-enthusiastic entry here, is always sure to deliver a few wonderful moments.

Oasis - Dig Out Your Soul

Dig Out Your Soul (Reprise) Oasis's seventh studio album. ****

Dig Out Your Soul never ventures into waters that haven't already been treaded. There's no problem with that. Many artists try the same things twice (or more) and many fail to make it any more interesting than the first time. Oasis is able to, as the tracks on Dig Out Your Soul are fairly monotonous, but in a good way. They end the same way they start, usually with progressive drones. Rarely do the songs build to gargantuan force, rarely do they shift radically halfway through. Instead, they start and end the same way with an almost drone feel. “Falling Down” may be one of the best songs they’ve done in years, with an underlying organ piece overlapped by Chris Sharrock’s rollicking drum performance. Same goes for “The Turning,” with its sonic background wails and gritty guitar. A job well done by experienced veterans.

Blitzen Trapper - Furr

Furr (2008, Sub Pop) Blitzen Trapper's fourth studio album. ***1/2

Imitating an artist isn't always smiled upon, and emulating them even less so. Blitzen Trapper, though, seem to break the mold. Their brand of psychedelic folk-rock is obviously heavily influenced by the four boys, but the elements of Americana and roots that they bring don't always necessitate Magical Mystery Tour references. The evenly placed beats of the opening "Sleepytime in the Western World," with its syncopated organ, piano, drums, and guitar, create a feel that is obviously Beatles-inspired, but not wholly unoriginal. The title track is the band's strongest moment, which boasts of stability in their Americana roots. It's the story of a life with friends told in a more unorthodox way, but there are not many metaphors that work better; the singer compares his adopted family to a pack of wolves. Strange, yes, but certainly fitting and clever. What holds Furr back is its monotony, which starts to sag towards the middle and rarely picks up again. It's an interesting if not promising entry for a band that needs to shed all its detracting critics - who honestly aren't all in the wrong.

Kings of Leon - Only by the Night

Only by the Night (2008, RCA) Kings of Leon's fourth studio album. ***

Dubbed the "Southern Strokes" for some reason that no one really seems the know, Kings of Leon have struck back with an album that, once again, doesn't sound much like what they've done before. It seems that KOL is really into re-inventing themselves like Radiohead or My Morning Jacket, but they do it with less effect. Instead of learning to either adopt one sound that can transcend genres or focus on one style for a particular album, they're all over the place, and it leaves Only by the Night to be a confused - if not contrived - work.

For every great moment Only by the Night has, there's one that's that much more under the bar of satisfactory. None of the material is bad, but it's certainly boring. After moving beyond the strange 80's-esque "Sex on Fire," Kings of Leon slip into territory of the mind-tinglingly boring. They try to imitate bands like Journey and U2 but for no apparent reason, as they are trying to get the edge of hard rock wedged into their name. Caleb Followill's monotonous whining vocals grow tired quickly, as they meet every track with the same intensity and range.

When KOL are on, they're hot as hell. The guitar riffs of the Who bounce off the walls on the churning "Crawl," and straightforward rock of "Notion" gives Followill a chance to do his best Prince imitation (with his pronunciation). It ends nicely, too, with the insightful ballad "Cold Desert." They exert surprisingly good lyrics; "Jesus don't love me, no one ever carried my load/I'm too young to feel this old." Only by the Night will certainly please fans, but anything beyond the potential single of "Crawl" is doubtful to win many new ones. The band can't seem to figure out why they aren't big in the states, but it seems fairly obvious; they're unpredictable, and they don't have a single album under their belt that they can really boast about. Until next time, KOL are SOL on striking it rich in the USA. (Crawl, Notion, Cold Desert)

Cold War Kids - Loyalty to Loyalty

Loyalty to Loyalty (2008, Downtown) Cold War Kids' second studio album. ****

Loyalty to Loyalty could be an album that will polarize fans and critics alike over the years. It doesn't seem to be bold enough to be considered classic, and since not all of the material is not as such, it's destined to be ripped apart. While Cold War Kids sound fairly confused on their sophomore album, they don't let that drag them down. Instead of trying to force a sound of progression or stick with what they already know, they make in album in the vein of how their minds have been working - in confusion. Loyalty to Loyalty sounds disjointed and even hesitant, but it doesn't seem intentional.

Nathan Willett's vocals are a cleaner version of Jack White's, and even on the romping "Something is Not Right With Me," his best emulation isn't always amusing. That's the thing about Loyalty to Loyalty, though. Even when not every band member has gotten something right, there's nothing really bad about anything they've done. And there are plenty of fantastic moments, like the opening jazziness of "Against Privacy," the deep guitar growls of "Mexican Dogs," or the soulfulness of the organ and piano-driven "Every Valley is Not a Lake." The album tends to slow down around the middle, and that's when a lot of people will probably lose interest in Willett's high tenor, but the non-sexy blues-swaying "Golden Gate Jumpers" and the unorthodox minimalism of "Every Man I Fall For" are fascinating bits when taken time to consider. I won't lie, most people will probably view Loyalty to Loyalty as a sophomore slump, but it's clearly a transitional album that should be given a few more looks.

TV on the Radio - Dear Science,

Dear Science, (2008, Interscope) TV on the Radio's third studio album. *****

TV on the Radio are not afraid to make radical shifts in their sound nor are they too independent-label minded to step up to the big stage. Dear Science, is a sprawling, adventurous album, eclectically mixed together to form a daring piece of indie and experimental rock. That genre is always a very difficult one to find any success in - let alone even make anything truly interesting. Most experimental rock bands never find a sound either A) worth listening to or B) controlled and rational. TV on the Radio have done so.

They don't waste time getting started, as the pulsing "Halfway Home" opens things up with a nonsensical "Ba ba baa ba bop" and a swirling drumbeat. As they approach the chorus, Tunde Adebimpe kicks in his falsetto as a wall of ambiance takes over the background. And what about "Crying"? This is the distant cousin of "Kiss" that Prince forgot to write. It's funky guitar and cymbal arrangement make it fun, and Adebimpe's soothing falsetto makes it another winner.

There's neo-soul and funk ("Dancing Choose" and "Red Dress"), heart-straining marching pop (Stork & Owl), and even a slow, melodic, piano piece ("Family Tree"). This isn't a concept album, and it's clear that this Dear Science, is to be taken one song at a time. What makes Dear Science, so amazing is not its attempt to be overly intelligent or overly catchy; these are well-crafted songs that came from the basics, morphed into complicated arrangements that can only be appreciated after several listens. TV on the Radio hit the ground running for sure, succeeding in flying colors to take the sounds that are all over the boards and shape them into one that is all without ever having sounded pretentious. Is Dear Science, the best album of the year? That's always a difficult one to answer. I'll say this - in a year where nothing has blown me away, this is probably the one that will knock me out in about two months. Right now, I know it's all there, I'm sure of it, I'm still waiting for it to sink in. (Halfway Home, Crying, Stork & Owl, Family Tree, Lover's Day)

Plain White T's - Big Bad World

Big Bag World (2008, Hollywood) Plain White T's fourth studio album. ***

Fans of Plain White T's will be pleased with a collection of moderately catchy songs with such 'deep' insights; the band knows how they feel, what it's like to have 'been there.' Problem is, the band's connection is only through generic renderings that only people without souls have never experienced. Take "Sunlight," a melodically pleasing song with a less-than-stellar message: "When you're all alone/Stuck in the dark/When you've lost your way in life/I won't be far." Wow.

Here's the kicker; Big Bad World isn't good enough to win any decent amount of critical praise, so snobby music buffs will continue to write them off. The band only has one hit, "Hey There Delilah," and there doesn't seem to be any material here that's nearly as memorable (or annoying) as that, though tracks like the bouncy pop of "Big Bad World," the indie-leaning "Natural Disaster," or the explosive guitar-and-harmonica play of "I Really Want You" might find airtime. That said, their fan base is already small, and the weaknesses of Big Bad World can't - logically, anyway - propel them any further. It's full of the cliches you'd expect from an emo band still trying to sound original, but it isn't garbage. If there's anything good about it, it doesn't have any painstakingly-irksome moments.

Noah and the Whale - Peaceful, the World Lays Me Down

Peaceful, the World Lays Me Down (2008, Mercury) Noah and the Whale's first studio album. ***1/2

On their debut, Noah and the Whale aren't trying to be revolutionary. And that's fine, it's rare that bands who attempt to be actually succeed, as most tend to try to be deeper than they really are. The band doesn't take a hands-off approach to themes, though, as Charlie Fink sings about the mysteries of love, science, and religion. He especially likes to connect the idea of God and love, contemplating on the idea that they are hand in hand. Fink asks, "If you don't believe in God/How can you believe in love?"

Peaceful... is a collection of undeniably catchy songs that are advanced by Fink's interesting lyrics. They're not pointless yet not nearly as cryptic as The Da Vinci Code. The opener "2 Atoms in a Molecule" asks the first set of question that the band isn't exactly ready to answer, such as "If love is just game, how come it's no fun?/If love is just a game, how come I've never won?" The answer may seem obvious, but since Noah and the Whale have decided to let the listener answer, they're never didactic. They're not afraid to get close to quoting Paul McCartney, either, as on "Give a Little Love" contains the words "If you give a little love you can get a little love of your own."

It's an extremely balanced album, mixing sullen moments like the simple acoustic periods on the title track, or bouncy pop/rock anthems like "Shape of My Heart." The elements of indie, folk, and chamber pop are very apparent, as their influences from Arcade Fire to Belle and Sebastien are not unpronounced. This is a band that history can remember fondly if they keep this up. (2 Atoms in a Molecule, Shape of My Heart, 5 Years Time)

The Walkmen - You & Me

You & Me (2008, Gigantic) The Walkmen's fourth studio album. ****1/2

Sincerity is never easy to convey, even when the effort on all fronts completely is. If there's any problem that the Walkmen don't have, it's struggling to communicate their sincerity. You & Me - as it could not possibly be more aptly named - is the Walkmen's most striking album, an arrow that pierces and is impossibly lodged. Walter Martin's signature voice, a mix of Bob Dylan and Stevie Marriott, completes this album in a way nothing else possibly could. Its themes are excellently rendered by easily decipherable lyrics, and that's not a knock; the relatively straightforward matter that Martin delivers with only increases the force with which the music already hits. You & Me is one of the most upfront albums of its kind, showcasing a relationship we never get the details of but can strangely identify with. On top of that, the themes of holidays and travel are equally recognizable.

"Red Moon" is one of the album's more somber moments, with a stagnant horn arrangement and moments of silence followed by a vocal wrap-up echoes the styles of songs like "Unchained Melody" by the Righteous Brothers. The no-tempo "New Country" serves as what could have been the perfect ending for such a near-perfect album, with its growing intensity of only guitar tracks. But the actual ending is possibly more satisfying, as the Walkmen drop lines like "My head is full of dreams, it's nothing new/But maybe dreaming is all a man can do." Not to mention Paul Maroon's subtle yet brilliant guitar solo.

Easily the finest moment is "In the New Year," with a gut-wrenching organ piece, whose climbing riff struggles so hard to keep up with the tempo, is only topped when Martin's seemingly unstoppable tenor vocal range continually soars higher, laying down hurricane lyrics like "I'll tell you I love you/And my heart's in the strangest place/That's how it started/And that's how it ends." Barrick's pummeling yet dreamy percussion arrangement only help the song to sway carefully like the open path Martin sings of.

On You & Me, the Walkmen have opened up another plane on emotion, as their transparency never feels contrived, instead it shows their vulnerability as human beings. Truly one of the better albums of 2008, You & Me is not an album that can be appreciated after one listen; it's the kind of diamond in the rough that teases you, taunts you, and intrigues you just enough to go on to a successive listen, and with each one it reveals itself until all the skeletons are out of the closet. (In the New Year, Canadian Girl, New Country, If Only It Were True)

Jem - Down to Earth

Down to Earth (2008, ATO) Jem's second studio album. **1/2

Down to Earth is so in between audiences that it'll be lucky to ever find one. While with one foot Jem has stepped into electronica and hip-hop as heard on tracks like "Crazy" and "Aciiid!" she simultaneously has piano ballads appealing to teen-drama watching high schoolers like "You Will Make It." So guideless is this album that it's almost transparently clear that Jem is not concerned about making music she likes; she wants to make music that's cool. Cool to who? Wannabe art chicks who think this is more exciting than Feist? I can't say. What I can say is that Down to Earth is anything but, as it's aimlessly floating in outer space.

Vampire Weekend - Vampire Weekend

Vampire Weekend (2008, XL) Vampire Weekend's first studio album. ****

The Strokes, Lily Allen, Black Kids... all artists who built up a certain amount of hype before unveiling their debut. Vampire Weekend are no different. They'd been knocking around New York City since 2006, maintained a following and were finally signed to XL - probably the leading independent label in the world - for their first album. How does a band accomplish this? Either they cheat the system like Metro Station or Panic at the Disco or actually work for it and earn it by a certain amount of luck. Vampire Weekend has done the latter.

Eleven bouncy walls performed by guys who know what they're doing in the bounds of what they actually are doing; i.e., they don't try to sound smarter than they actually are. They don't try to write songs that are too complex for their own good. Sure, they've studied Paul Simon well enough, that's heard right from the beginning with "Mansard Roof." But their best moment is their bouncy and sly falsetto-linked "Oxford Comma." With its beautiful harmonies and irresistible verses, the band has already made a classic pop song.

Then there's the charming "Cape Cod Kwassa Kwassa," which manages to maintain catchiness and reference an influence - Peter Gabriel. One of their best moments is the exponentially growing "Campus," which perfectly displays their subject material; college kids doing college thinks. Vampire Weekend is a delicate balance of indie pop/rock with just the right amount of chamber pop; not too much, but the classical moments shine through when they need to. But the band isn't off the hook yet. Hype and praise have been thrown at them, and it's very clear when listening to the album that these are some boys who have no idea what they're getting themselves into. (Mansard Roof, Oxford Comma, Campus)

The Subways - All Or Nothing

All Or Nothing (2008, WEA) The Subways' second studio album. ***

All Or Nothing is actually quite a pleasant surprise, as I'd only heard the Subways once before during their performance on David Letterman (or was it Leno?). Either way, their performance was terrible, as was the song. Needless to say I went into All Or Nothing with low expectations. I still don't believe they're good, but their latest album almost proves me wrong.

"Girls and Boys" suffers from being the perfect opener; it features a killer riff that has energy that couldn't possibly be fabricated. On the downside, it's the best song on the album, and nothing after it comes close to matching its brilliance. Why the Subways didn't follow the punk and metal instincts that the riff suggests is unfathomable. Instead they lay down vocal tracks and emotion that sound like post-grunge. It could be worse - namely, it could be pure grunge. Doesn't anyone get that Seattle's grunge scene was just a fad? There's none of it left and it doesn't seem to be anywhere near coming back.

Ensuing tracks like "Kalifornia" aren't half-bad, but they do sound like Nirvana B-material. All fairly loud with boring, predictable time signatures and riffs. After the above-mediocre sprint of "Shake! Shake!" the album winds up fishing for interesting moments, but only reels in variations of already-established grunge motifs. Really, there isn't anything on All Or Nothing that can be identified as the pinnacle of their mistakes. Instead, it's a collection of work that could have, should have been better.

Gym Class Heroes - The Quilt

The Quilt (2008, Fueled By Ramen) Gym Class Heroes' second studio album. **1/2

Either Gym Class Heroes are idiots who think they're way cooler and way better than they actually are, or they're pulling one of the greatest pranks in music history. McCoy talks a big game throughout the album without ever treading upon lyrics that make any of what he's saying sound true or even interesting. Even on The Quilt's first track, his first words are "Ladies and gentlemen," a cliche used so much in rap that scoffing is almost a natural reaction. It's a fictional court case that's impossible to follow, and that's a trend that unfortunately plagues almost all of The Quilt.

He pulls a Limp Bizkit-like approach to rapping when he repeats the same words for the chorus, "Papa was a rolling stone/But I want to be the cover of a Rolling Stone." I doubt that McCoy or any of the band members took a music class - and I don't require it of musicians - but one of the most obvious things is to never rhyme a phrase with the exact same phrase. And "Cookie Jar" is even cheesier when he gets to likening women of different ethnicities to treats; "Butter pecan Puerto Ricans/Or them oatmeal raisin Asians/Hazelnut Brazilians/Macadamia Caucasians." Oh, the line between being clever and ridiculously stupid is so fine!

Despite McCoy's total failure to write a decent line, the music is actually quite good. It's such a shame that it all fell into his hands. The trumpet flourish of "Guilty as Charged," the innocent guitar and piano of "Like Father, Like Son," the Latin influence of "Blinded by the Sun," or the whining synths of "Cookie Jar," (not to mention the Dream's excellent cameo appearance and untouched falsetto vocal performance) are all musically competent. Hell, they're downright brilliant. The best moment is stuttering keyboards that guide the honestly catchy chorus of "Catch Me If You Can."

It's a strange album, because while the band should be commended for making a relatively clean album (usually devoid of unneeded profanity) and is made in the spirit of fun, the second half of the album immediately following "Cookie Jar" falls into uninteresting filler. The first half, while fascinating musically, is dragged down by McCoy's beyond idiotic rhymes. Think of it this way, if Kanye had written the lyrics for the first half of the album, it'd probably be terrific. It can definitely be enjoyed, just make sure to never, ever think about anything McCoy says throughout its duration.

The Kills - Midnight Boom

Midnight Boom (2008, Domino) The Kills' third studio album. ****

On their latest album, the duo known for being another minimalist blend of punk and blues sounds anything but. Minimalist, yes, they're still that, but if anything, this is garage pop. It works for them, too, as Midnight Boom may be their best album. VV has never sounded sexier, and together her and Hotel's performances and songwriting have never been tighter. The droning, monotone delivery of the opening "U.R.A. Fever" is nothing but foreshadowing; the Kills have mastered the craft of the memorable chorus. On "Cheap and Cheerful," VV sings "I want you to be crazy/Cuz you're boring, baby, when you're straight," mixing in dance elements. "Last Day of Magic" has one of the most compelling guitar lines in recent history.

Midnight Boom is a perfect example of what so many artists fail to do. VV and Hotel are able to take so many genres of music (the Devo-esque "Getting Down," the hard-rocking "Sour Cherry" with its descending bass riff) and make it their own without anything ever sounding displaced. And everything, and I mean everything, sounds effortless. That's a compliment in the highest form, because it doesn't suggest they were being lazy. Instead, it's showing that the Kills have reached a level where they are able to craft killer tunes and never have to throw in filler. If this album doesn't launch them to the recognition that they deserve, then it's our fault. (U.R.A. Fever, Cheap and Cheerful, Last Day of Magic)

Fall Out Boy - Live in Phoenix

Live in Phoenix (2008, Island) Fall Out Boy's first live album. **1/2

Fall Out Boy are the heroes of emo, and its sole respectable artist. Panic, Plain White T's, whoever, Fall Out Boy are the only ones left standing who give the genre any credence (though one could certainly make an argument for Jimmy Eat World). And while Live in Phoenix will without a doubt entertain fans, it's still a compilation of uneven performances.

It opens with "Thriller," one of FOB's better and more underrated songs, but when it comes to the chorus, Stump sounds like he has a sock in his mouth. Worse yet, you can hear the media whore of a bassist Pete Wentz shouting in the background. Wentz occasionally butts in and shouts to the audience between songs, revealing a truth among fans; if you're an artist who has sold out a good sized venue, you can say anything - anything - and have the crowd go nuts.

There are decent numbers in here, especially towards the beginning. But none of them exceed what was done in the studio, and that hurts, especially when somewhat weaker songs show up and sag the middle. Even the cover of "Beat It" is less than spectacular; no one expects it to be better than Michael Jackson's, but what FOB have done with Mayer is the same approach that Alien Ant Farm took with "Smooth Criminal." None of this is to say that Fall Out Boy are poor in concert; I doubt that, it's far more likely that this was an unfortunately sub-par performance with a bit more than mediocre recording. (Stump's vocals are sometimes lost in the barrage of guitar tour-de-forces.) Live in Phoenix is not evidence for or against the band's credibility, and for fans it's a decent listen and enough to hold them over until November.

The Duhks - Fast Paced World

Fast Paced World (2008, Wel) The Duhks' fourth studio album. ***

I'm not sure how the Duhks attained the label of "progressive bluegrass," but I think that is hardly what I would call it. In fact, to even attempt to define their genre is difficult, and in their case it's not necessarily a compliment. Fast Paced World often finds the band trying to do too much, ranging from their original bluegrass roots to world, blues, and straightforward jam. To add on top of that, lead singer Sarah Dugas hardly fits the band's approach. Dugas is a jazz singer, plain and simple, and her husky Feist/Winehouse sounding vocals don't suit what the band should be attempting. Now, her voice is very rich and is excellent, and it works great on African pieces like "Magalenha" or the thunderous opener, "Mighty Storm." The problem? A cover of something like "Magalenha" doesn't belong here.

None of the material is bad or poorly performed, but because none of it adds together in any logical sense, you're left wondering what the band was thinking when they went into the studio. It's not unreasonable to entertain the thought that a computer came up with the track sequencing, as random order would work nearly as well as the arrangement they have here. While Fast Paced World may sound good, it's ultimately an aimlessly meandering album, attempting to bring an established sound (which isn't established) to a wide array of genres.