Joseph Arthur and the Lonely Astronauts
Temporary People
Lonely Astronaut

The often moody Arthur can also unleash some racket, and that’s the case here on “Faith” and the title song, while he plumbs off-center rocking for “Look Into the Sky” and “Dead Savoir.”  His rootsy side shows for “Say Goodbye” and “Turn You On,” tinged with country ballad colors. But somehow a lot of it doesn’t connect, except perhaps for the riveting “Heart’s a Soldier.” Overall, much of the album is interesting at times, curious at others, but lacks the organic passion found in some of Arthur’s past recordings.

New Duncan Imperials
End of Phase One
Pravda Records

The first studio set in eight years from The New Duncan Imperials finds the band still balancing art-rock and meat-and-tators garage styling with swampy detours. For those that miss the rough-n-tumble days of The Replacements, try “Nothin’ to Do,” while “I’m Invisible” might find the band on mainstream modern/classic rock radio today, if they were more known. Other winners include one of the best songtitles to come down the pike in while: “I Love You Honey But I Hate Your Band,” “Nothing To Do,” and “(I Never Got Anything) Off Of You.” Blowin’ rock raspberries all over the place with riff crunchy and catchy tuneage, it’s good to have The Imperials back.

Taxi Doll
Here and Now
Antidote Media

Featuring a cutesy-hot frontwoman and four posey-looking lads — mohawked, dreadlocked, and so on — Taxi Doll is an L.A. band that likes to think of itself as “Garbage meets Blondie”…but they lack the hooks supreme of either, though the band is certainly working on it. The lead track, “Come to Me,” is a bouncy, hand-clap boing-fest, while “Follow Lead” borrows a little from Motown (think Supremes and love you can’t hurry, okay?). The group’s too bland, losing sight of the tune on “Look At What You Get” and gets mired in indulgent mood for “Winter” and the atmospheric attempt of “Strange Rush.” Best are “Notice Me” and the the title song, quite Blondie-ish with happy stomp beats and rising refrains.

Jackopierce
Promise of Summer
Foreverything Records

It’s been more than decade since we heard from Dallas-based acoustic folk-pop duo Jackopierce, but not much has changed for the team of Jack O’Neill and Cary Pierce, still sounding out of the coffeehouse, which suits them.  The title track is about love at first sight, while  “Come on July” highlights the duo’s harmonies. The new set also includes “March,” a war song from their debut back in 1991 that takes on new context with what’s going on in Iraq the past five years, as well as entrenchment in Afghanistan. While I’ve been fonder of other ’90s duos (like Lowen and Navarro), Jackopierce still has appealing charm and earnest qualities as romantics with realistic world-weary eyes.

Dear and the Headlights
Drunk Like the Bible Times
Equal Vision Records

These clever Phoenix lads are on their second outing which grabs you with lines like “Are you swingin’ from the eaves in a tasteful noose,” from the swirling opener “I’m Not Crying, You’re Not Crying.”   Nice. The lyrics from frontman Ian Metzger are a witty whack-job wonder at times — the music a mix of indie-rock and side-tilted pop as on the push-and-pull “Bad News” and blast-rant of “Carl Solomon Blues.”  The drunken swell of “Willeta” is nearly like a pub ballad countered by “Saintly Rows (Oh Oh),” a genuine heart-breaker, and the wail-pain for “Flower For My Brain.” Impressive stuff here. Check ‘em out.

Two Left Feet
Two Left Feet
Skilletone Records

This band, out of Concord, California show off an eclectic array of oddness the sometimes recalls near-forgotten second-tier prog-rock bands of the ’70s, such as, say, Wild Turkey though with indie-guy vocals. This is certainly the case with the speedy “When Campers Strike Back.” Then the group turns to smart pop for the racing “Passive Aggressive” and wry “Have Day Jobs.”  The group has a knack for underplayed hooks in “Isabel” and whips out the right bits of silly for “Muir Woods.” The songs overall are loaded with irony and wit, though the 17 tracks could’ve been cut down a bit to perhaps 12 or 13 to make for a better album.

Jessie Sparks
Breathe Easy
www.jessiesparks.com

With so many girlish vocalists out there, it’s always nice to hear a woman’s voice — y’know, one that sounds grown up, and that’s the case for the mellow pop of Jessie Sparks, an Aussie singer-songwriter. Stand-outs include “Aint’ Silver But It’s Gold” and the blues-dipped “Bended Knee.”  She’s a touch melodramtic at times, but it works for her, as on the eocative “Better For Us Both” and heart-bared “Ride With You,” while she’s warmly seductive on the hugging “Stay Awhile.” This is something a little different that the usual genre fair.

Popularity: 2% [?]