Destroyer
Kaputt
(Merge)

After two exceptional left-field EPs of songs with elements of ambient disco (Bay of Pigs) and abstract electronica (Archer on the Beach), Destroyer keeps the curveballs coming. Their latest delivers smooth soft rock brimming with fruity horn solos and suave backup vocals. Dan Bejar seems an unlikely performer to pull off the Sade-meets-Roxy Music vibe of this elegant background music, but Kaputt works marvelously. Songs like “Chinatown” and the title track are enjoyable concoctions of effortless groove, sighing keyboards, and catchy melodies. The lyrics provide a dark and knowing counterpoint to the hedonist soundscape. “Girl, you’re never going to make it,” Bejar coos at one point. “New York City just wants to see you naked.” The tunes are also cannily embedded with bits of distortion and odd structures., the grit that produces the gloss of a smooth white pearl. —Jeff Jackson

Girl Talk
All Day
(Illegal Art)

Since 2006, no one has been turning out stronger rap/ rock mash-ups than Pittsburgh’s Greg Gillis. However, on his latest album (free online) Gillis broadens his scope. And, with a running time of 71 minutes, there is room for music from most any genre. Opener “Oh No,” features Ludacris rapping over Black Sabbath’s “War Pigs.” Elsewhere, Rhianna’s “Rude Boy” combines with the bass line of Fugazi’s “Waiting Room” to thrilling effect. Other high points include the appearances of Bananarama, the Toadies, and Nicki Minaj rapping frenetically over Blue Oyster Cult. Still, with so much music vying to be heard, the record sags noticeably in the second half. Yet, with just the mental image of thousands of fans potentially pogo-ing to the line “All the girls standing in the line at the bathroom” over Springsteen’s “Dancing in the Dark,” the whole experiment seems worth it.  —Michael Cimaomo

Superkart
Big Wheel Keeps A Rollin’
(Independent)

Superkart (aka Sue Burkhart) has a rich history in Valley music, having teamed up with luminaries like Jim Weeks and Ed Vadas to eclectic ends, so it’s no surprise that her latest effort is a stylistic scattershot. Strings are everywhere, including guitars, mandolins, banjos and more, which are equally picked, strummed or played with a slide. There’s a song that could’ve been written by Johnny Cash, some ’90s rock influences, dub reggae, some Meters-flavored jazz-funk stylings and other progressive compositions overlaid with Jon Anderson-style vocal intervals. Weeks is omnipresent on the record, supplying the entire bass-drums-percussion rhythm section, keyboards, vocals and John Popper-esque overdriven harmonica jams, as well as engineering and production duties. Catch the CD release party March 5, 9:30 p.m. at The Elevens in Northampton. —Tom Sturm