Dom
Family of Love EP
Virgin
Street: 06.09
Dom = Beach Fossils + The Sea and Cake + Telepathe + Real Estate
Worcester indie-pop newcomers Dom are maturing, and it suits them very well. On their second EP release in as many years, the trio has revamped their sound from a scrappy lo-fi synth-pop cloud of fuzz into fleshed-out, deliberate sophisti-pop with full, dense-sounding compositions. While growing up is typically a two-edged sword, with both benefits and drawbacks, Dom is managing to pull it off while maintaining every bit of the goofy charm of their debut, Sun Bronzed Greek Gods EP. Family’s best song is the EP’s jaunty title track, which, despite its sunny façade, is the first time our eponymous frontman makes reference to his less-than-ideal upbringing, and the hope of a happier family life among friends in the future. −CG

Grace Jones
Hurricane
Play It Again Sam
Street: 09.06
Grace Jones = the original Gaga + Ivor Guest + Bruce Woolley + Sly & Robbie + Eno
Grace Jones emerges 19 years after her last album and shows no signs of letting up—Not too bad for a 63-year-old musician.  Released in the UK in 2008, Hurricane is finally getting a proper US release. Album opener “This Is” sets the tone, with Jones reminding us that “this is my voice/my weapon of choice.” As the Tricky-co-penned title track suggests, Jones is a creative and vibrant musical force to be reckoned with. Written with Wendy and Lisa, “Blood” is autobiographical and tells the story of how Jones’ musical interests come from her mother’s side—not her preacher father’s—and is highlighted by her spoken refrain of “Amazing Grace,” over her own mother’s vocalized version.  It is amazing indeed. Her mother emerges again in the lovely paean “I’m Crying (Mother’s Tears).”  Even more ambitious is the sheer awesomeness of the full ‘dub’ version of the album, entitled Hurricane Dub.  The album’s nine tracks—plus the enticing ‘Hell Dub’—were remixed by Guest into wicked dub versions and makes the ultimate chill-out companion to the album proper. –Dean O Hillis

Gringo Star
Count Yer Lucky Stars
Gigantic Music
Street: 10.25
Gringo Star = Foreign Born + Thomas Function
This album lacks substance, but that should probably be expected by a band that goes by the moniker Gringo Star. It starts off really strong, with a song that is strikingly reminiscent of Foreign Born’s “Blood Oranges,” but every song gets cornier as the album progresses. The songs are just too hook-driven and sappy (the high production values make this feel even more awkward). The oddest thing for me, though, is how much the singer’s voice reminds me of Ima Robot (yet not Edward Sharpe and the Magnetic Zeros). The album certainly has a couple of highlights, though, such as the opening track, “Shadow,” which I mentioned earlier, and acoustic tracks such as “Beatnik Angel Georgie.” If you aren’t down for plenty of doo-wop style background vocals and predictable guitar solos, maybe skip this one. (Urban: 11.03) –Cody Hudson

Hank 3
Ghost to Ghost/ Guttertown
Hank3 records
Street: 09.06
Hank 3 = David Allen Coe + Hasil Adkins + Bob Wayne + Anti-Seen
Now that Hank 3 has finally broken free of his Curb records contract, he has formed his own record label, Hank 3 Records, and taken full control of his musical destiny. Now I’m all for creative freedom, but there was something in those early Hank 3 records, a tension that was apparent between label and artist that produced some great country music. Yes, when the label won its few victories, the songs suffered, but I think ultimately, that it created a unique point of view for Hank 3. As he’s resisted label influence more and more over the years, a more brazen Hank 3 has appeared. Ghost to Ghost is Hank 3 run amok—country music with attitude, metal guitar, heavy drums, and other metal tropes mixed with country elements, creating a hellbilly brand that only Hank 3 could think of. His concept songs go way too far to follow, and his more conventional country tunes are usual Hank 3 fare. There’re fun songs like “Cunt to a Bitch,” which is the story of an evil drug-thieving woman, which could be called speed country. The accompanying disc, Guttertown, is far more interesting, a 19-track epic where every other track is a Cajun-style romper or a backwoods folk tune with an onslaught of accordion and steel-slide guitar. It sets a scene of hammering out tune after jaunty tune down somewhere in the Louisiana bayou. The tracks in between each song are filled with ambient noises of nature, mechanical sounds, howling dogs and cryptic chanting, but the songs are worth sorting through. On one hand, I’m glad Hank has gained control of his artistic fate, but on the other, the actual product needs to be reined in a bit. –James Orme