Jherek Bischoff
Composed
Brassland
Street: 06.05
Jherek Bischoff = Beethoven + Mozart + vocals
The ultra prolific Bischoff—associated with Xiu Xiu, The Dead Science, and Parenthetical Girls, to name but three—has fashioned a pleasant and listenable orchestral-based concept album meticulously and exhaustingly recorded one instrument at a time. While having too many guests on an album can sometimes overwhelm it, the eight tracks that feature vocals boast a different turn on nearly all of them and somehow, they all work. The most famous guest here is David Byrne, appearing on the catchy “Eyes,” and aside from the chameleon-like turns by Bischoff himself on two other tracks, the most impressive feature female vocals: Mirah Zeitlyn on “The Nest” with violinist Paris Hurley, Carla Bozulich on the stunning “Counting,” and the especially lovely treatment of Dawn McCarthy on closing gem “Insomnia, Death and the Sea.” After a somewhat whimsical start, Composed turns much more dramatic, but with Bischoff at the helm, it never loses its charm. –Dean O Hillis

JP Harris and the Tough Choices
I’ll Keep Calling
Cow Island Music
Street: 05.01
JP Harris and the Tough Choices = Hank Williams + Merle Haggard
My momma raised me on oldies and country, and by “country,” I don’t mean that crap they play on country stations these days—I mean the good-old-boy, my-car-just-died-and-my-wife-left-me type country. JP Harris and the Tough Choices play that type of country. Hell, according to their Facebook page, they play “Country-Goddamned-Music,” and I can’t argue with that. While this is their debut album, the music seems seasoned and Harris’ voice sounds like it was created for no other purpose than singing honky tonk. “Gear Jammin’ Daddy,” “I’ll Keep Calling” and “I’m Stayin’ Here” stand out the most, although all of the songs are beautifully done. Head over to their website (ilovehonkytonk.com), have a listen and fall in love with some good old-fashioned country, then go see JP Harris and the Tough Choices when they come through Salt Lake at The Garage on July 5 or at Snowbird on July 6. –Johnny Logan

Lazer Sword
Memory
Monkeytown Records
Street: 04.27
Lazer Sword = 808 State + The Black Dog + Shlohmo + Link’s “Warp Whistle”
Upon doing my homework, this brainchild of Antaeus Roy (Lando Kal) and Bryant Rutledge (Low Limit) is steeped in the revival Detroit electronica. This is great! It’s like getting a history lesson about what that Detroit electronic music would sound like without being high out of your freaking mind. Raving was such a “thing” in the ’80s and ’90s, and lots of people jumped on the electronic-rave-house bandwagon. After wading through a generation of pure shit, there are still these gems that are actually influential and therefore, produce diamonds. That being said, this album is indeed a gem. As well as being a Detroit throwback, there is a great “nerd” factor going on here. I swear to God, there could be elements that sound like there’s some mission-style Legend of Zelda shit going on, and “Let’s Work” has an awesome Daft Punk meets Zapp and Roger vocal thing happening. Effortless transitions, awesome album, and I sincerely get the feeling that these guys are gamers or fanboys, which works in their favor. –Mary Houdini

Leigh Marble
Where the Knives Meet Between the Rows
Laughing Stock Records
Street: 04.24
Leigh Marble = Elliott Smith + Ani DiFranco
Don’t listen to this if you’re looking for something light and easy. Written during the process of his wife going through cancer, Marble’s folk-rock exudes truthful feelings of dread and darkness. The opening track, “Walk,” kicks off Where The Knives Meet Between The Rows on an angsty, sunken note that is maintained for pretty much the entirety of the album. Using creeping drums, soft piano and heavy strumming, this is stylistically and technically nothing you haven’t heard before; what makes it completely worthwhile is the cathartic lyricism. Take “Nail,” for example: “There at the end of your room, you’ll test the aerodynamics of hope.” I’d give this a listen the next time you think your life sucks—it’ll humble you the fuck out. –Kia McGinnis

Lou Ragland
I Travel Alone
Numero
Street: 03.26
Lou Ragland = Edwin Starr + Hot Chocolate + Northern Soul
Lou Ragland is one of those American soul singers that none of us have ever heard of. He cut his teeth playing buck-of-blood clubs in Cleveland in the 1960s, acting as vocalist, and playing the clarinet and the saxophone. He released a few records as a member of the black soul scene in Ohio before jumping ship for the bright lights of Las Vegas. He’s sung for many bands over the years, including Hot Chocolate and the Ink Spots, and has also worked with various soul record labels on the administrative end. Although his success came mostly from his work in Vegas in the early 1970s, Ragland’s early recordings show so much promise it almost hurts. This album, a three record set, brings together the bulk of Ragland’s recordings from his formative years in Cleveland. The best songs are from his time in Hot Chocolate. The tune “What’s Good For the Gander” is a classic ’60s, do-your-man-right song with a catchy groove and a sing-along chorus. “Ain’t That a Groove” follows the same model and does it just as good. In fact, every song on these discs kills. Proof once again that authentic American soul music is about as beautiful as music can be. –James Bennett