Meg and Dia
Here, Here and Here
(WEA/Reprise)
Meg and Dia's third album is a charismatic pop-rock romp both upbeat and candid. Although the songs often deal with heartache and breakups, the optimism and self-acceptance running throughout keep the lyrics in line with the fast, catchy melodies. The sisters' strong voices blend in tight harmony and are often indistinguishable from each other. They cite Feist, Joni Mitchell, Sia, Tori Amos and the Dixie Chicks as their major influences, and songs like "Hug Me" and "Agree to Disagree" have country rhythms and a slight Utah drawl. The album is a pleasant journey of self-discovery. —Alyssa King
Junior Boys
Begone Dull Care
(Domino)
The Junior Boys haven't messed with their formula on Begone Dull Care. They still combine Jeremy Greenspan's intimate vocals with minimalist beats to create aching electro-pop ballads. But after two sublime albums, their music is in danger of becoming overly familiar. Where previous releases seduced listeners with surprisingly intricate rhythms and warm melodies, their latest merely features expertly polished grooves and insinuated passions. The Canadian duo's music has always been subtle, but these tunes are slow burners even by their standards. Only two include hooks that register immediately. The rest of the songs have their charms, but you'll have to meet them halfway to fall under their spell. —Jeff Jackson
Dan Zimmerman
Cosmic Patriot
(Sounds Familyre)
It's tough to imagine the mood that would have you reaching for Cosmic Patriot. An odd mix of genres ranging from country to rock to a ghostly tango, it feels like an identity crisis with a few high points but little continuity. The bluesy, countrified tracks like the title song, "Everyday in My Heart" and "Trailing Clouds of Glory" have a pleasant, absorbing singing-around-the-campfire feel, but rock songs like "Lost My Technique" feel less cohesive, and the middle of the album falls into a depressive mix of lament and whining emotion that doesn't connect. The album finishes with a return to softer, more enduring blues, but listeners may never get that far. —Alyssa King
Black Moth Super Rainbow
Eating Us
(Graveface)
This Pittsburg group offers a strange and strangely compelling brand of pop infused with strains of trippy electronica and late-'60s psychedelia (at times the Beatle love almost takes over). A drifting sense of motion propels the proceedings, and the effect would remain compelling if not for the eventually off-putting nature of the always helium-whispery vocals and sometimes unconvincing lyrics ("iron lemonade washed my friends away" that odd voice reveals at one point). That said, if it's huge synth swells and a modern take on the drama of late '60s bands with "Electric" in their monikers you desire, Black Moth Super Rainbow is certainly worth a listen. —James Heflin
