Album Reviews

Sunset Rubdown "Random Spirit Lover" 4 out of 5 stars

Sunset Rubdown started off as a side project for Wolf Parade's lead singer Spencer Krug, but with a third full-length, "Random Spirit Lover," it is becoming a full-fledged entity. Fans who have followed the band's evolution will be pleased to hear that band's trademark whimsical, circus-like sound and Spencer's distinct high-pitched voice are ever-present on this record.

The opening track, "Mending of the Gown," begins with catchy guitar riffs and an energetic piano. The album slows down with tracks like "Wicked/Winged Things" and "Stallion," both of which contain heavy synth and filler sections. The record finally reaches a climax on its best track, "The Taming of Hands That Came Back to Life," which beautifully pairs screeching guitar and vocals.

"Random Spirit Lover" has a few tedious lulls and some problems with cohesion, like the out-of-place "Colt Stands Up, Grows Horns." But this is Sunset Rubdown's strongest release. With three LPs under its belt - opposed to Wolf Parade's one - Sunset Rubdown has progressed far beyond its humble beginnings. - Peter Belfiore

The Octopus Project "Hello, Avalanche" 2.5 out of 5 stars

For instrumental albums to succeed, they must grab you firmly on the first track and refuse to let go until your speakers are silent. On "Hello, Avalanche," The Octopus Project's third full-length album, happiness abounds in the band's blend of electronic beeps, drumbeats and synthesized guitar riffs. But the band fails to grab its audience, hindering the album's impact on the listener.

The first few songs feel distant, and while the delicate xylophone of "Snow Tip Cap Mountain" is aurally pleasing and the next few tracks dabble in a bit of electronica, they do not engage the listener. "Hello, Avalanche" shines brightest when The Octopus Project goes all out on "Mmaj," which features captivating beats and a static background. The latter half of the record is much better, as it embraces dance-pop, but it still does not live up to the musical success of instrumental albums.

Though using many musical elements within a song can be an effective tactic (as evidenced by the indie pop of Architecture in Helsinki), a few of the tracks on "Hello, Avalanche" fail to reveal a purpose and are simply unmemorable. This album may be a fun listen, but you probably won't still be listening to it in a year or two. - Charlie Tatum

Underworld "Oblivion With Bells" 3.5 out of 5 stars

British electronic duo Underworld return with a fifth studio album, "Oblivion With Bells." Karl Hyde's detached vocals are the defining feature on many of the album's 11 songs, becoming another hypnotic element in the mix.

Opener and first single "Crocodile" reaffirms the band's mastery of spacey epics, lasting six-and-a-half minutes. The following tracks, "Beautiful Burnout" and "Holding the Moth," represent the group's excellent production skills. Unfortunately, Hyde missteps with "Ring Road," on which he removes much of the distortion that normally makes his vocals work with the band's abstract sound. Instead the listener is left with pedestrian lyrics and unremarkable vocals.

"Good Morning Cockerel" is a far more successful experiment. It is a legitimate ballad that features a piano and somehow comes off as sincere throughout its two-minute duration.

Even though the vocals work on a lot of the songs, the shorter ambient pieces "To Heal" and "Glam Bucket" work just as well without them, sounding reminiscent of Underworld's previous work. Closer "Best Mamgu Ever," with its chopped-up vocals and dub-style percussion, is a good reminder that you don't have to understand Underworld to enjoy its music. - Roland Li

E-mail the WSN music staff at music@nyunews.com.