Album Reviews

Rudeboy's Return

Despite: His outspoken politics, Ted Leo's always been a romantic, and never completely at ease reconciling those facets. But he's getting damned close: The Brutalist Bricks features some of Leo's most assured writing yet. Consider:"When the café doors exploded" — the line that jump-starts the aching record-opener, "The Mighty Sparrow," an impossibly rich five-word scene-setter. Or "Even Heroes Have to Die," a solemn update on his classic "Where Have All the Rudeboys Gone?" Then there's barroom romp "Bottled in Cork," which doubles as Leo's foreign policy position paper. Of course: The title pun (Google "Brutalism") could be the album's slyest turn of all. —Brian Howard

Get Your Hugs

At first: Emma Pollock went pop. The debut solo effort from the former frontwoman of the Scottish band the Delgados, Watch the Fireworks (2007), was warm, approachable and filled with soaring melodies. This time: Pollock travels a thornier route. The Law of Large Numbers emphasizes her experimental edge. Songs restlessly changeinto different tempos and rhythms, with unlikely arrangements. (Most tracks include a vibraphone.) The album is dark and arty: But her gorgeous vocals keep it grounded, and her melodic sense remains flawless on songs like "I Could Be a Saint," "Red Orange Green" and "The Child in Me." —Michael Pelusi

Niceland

When: The seven eth- and umlaut-laden members of Iceland's Seabear take the tiny stage at Kung Fu Necktie (March 24), they'll need to elbow for space. Quietly: The band has ballooned from Sindri Már Sigfsson's solo project to a softly swelling Northern lit minstrel troupe. Try this: Close your eyes while listening to this record's omnipresent references to warmth and its absence ("I'll Build You a Fire," "Cold Summer") and visualize lush valleys, glacial flows and gurgling geothermal heat. Pay attention: There are depths to this music, flecked with peculiar detail and curious instrumentation, including violin, bells, tiny guitars and the requisite choir of backing pixies. —Brian Howard

Blurring the Lines

Remember: Damon Albarn used to be a one-hook wonder in this country, via Blur's "woo-hoo!" ditty (i.e., "Song 2"). Then: He became Gorillaz and — with "Clint Eastwood" and "Feel Good Inc." — a bona fide U.S. hitmaker. Now: Albarn unleashes a third Gorillaz album, with more oddball guests (Snoop Dogg, Bobby Womack, Lou Reed). But: Plastic Beach often feels patchwork. There are credible moments of catchy, eerie dread —"Stylo" (featuring Mos Def and Womack) and "To Binge" (featuring Swedish electro-group Little Dragon). There are also too many genre exercises and pointless workouts for Albarn's vintage synthesizer collection. —Michael Pelusi

Refugee All-Stars

Well: The stars of 2007's stunning little documentary Heavy Metal In Baghdad — about war-oppressed Iraqi dudes who worship at the Metallica/Slipknot altar — have finally put out a proper release. And: You know what? This is just a four-song EP, but these thrash-metal refugees (they all live in the U.S. now) know how to bring it. Just really righteous head-banging stuff, led by the nimble fingers of guitarist Tony Aziz. So: Whoever blew up their practice space oughta be quaking in their boots right now. —Patrick Rapa