record reviews

January 1, 2012 at 12:00a.m.

TRENT REZNOR/ ATTICUS ROSS

Album: “The Girl with the Dragon Tattoo” soundtrack (The Null Corporation)

Grade: A

Where their Academy Award-winning score to “The Social Network” was warmly minimalist and subtly nicked by droning guitars and video-game blips, Trent Reznor and Atticus Ross’ coldly vigorous “Girl with the Dragon Tattoo” is as isolated and aggressive as the film itself.

Epic too, at nearly three hours (three CDs) of macabre but beautiful music.

“Girl” features songs such as a ghoulish Karen O-led take on Led Zeppelin’s “Immigrant Song” and a hypnotic Reznor/Ross cover of Bryan Ferry’s “Is Your Love Strong Enough?”

— A.D. Amorosi, Philadelphia Inquirer

JONSI

Album: “We Bought a Zoo” soundtrack (Columbia)

Grade: A

“We Bought A Zoo” might contain previously released songs from Iceland’s grandly misty Sigur Ros and its entrancingly pixieish vocalist/composer Jonsi.

Yet you’ll come to this stirring soundtrack for the melancholy elegance of its brief, boisterous thematic tracks (“Sun”), hymnlike Jonsi originals (“AEvin Endar”), and unique collaborations that embrace the cinematic tale of a family struggling for unity.

While orchestrator Nico Mulhy provides complex and icily arranged layers of brass and strings, Jonsi collaborates with Cameron Crowe, director of “Zoo,” on the sweeping “Gathering Stories,” one of the most linear performances of the Sigur singer’s career.

— A.D. Amorosi, Philadelphia Inquirer

ROBIN THICKE

Album: “Love After War” (Star Trak/Geffen)

Grade: B

Like his previous releases, Robin Thicke’s “Love After War” is steeped heavily in nu-soul and R&B and focuses on love, sex and the emotions in between.

While 2009’s “Sex Therapy” was more carnal in content and sexual in rhythm, “Love After War” tones down the language and relies less on the tried-and-true R&B beats, as the ’70s funk of “An Angel on Each Arm” and the rowdy, anthemic and slightly corny “I’m an Animal” demonstrate. “New Generation,” meanwhile, seems an homage to the music and spirit of Gil Scott-Heron.

“Love After War” isn’t as engaging or memorable as some of Thicke’s earlier work, but it’s a fun listen and possibly an indication of where Thicke is headed next — focusing more on music than on lust.

— Katherine Silkaitis, Philadelphia Inquirer

YOUNG JEEZY

Album: “Thug Motivation 103: Hustlerz Ambition” (Corporate Thugz/Def Jam)

Grade: C

Hopelessly out of step with woozy swag rap and Auto-Tune, the usually monotonous and overpraised Jeezy sounds surprisingly sturdy on his fourth album.

“Thug Motivation 103” delivers the reliable bawdiness and mildly exciting beats of a good, boilerplate rap album.

But Jeezy is nowhere near arresting enough as a rapper to justify the 80-minute running time.

Don’t need most of the second half (what’s Jill Scott doing here?) or the disappointing singles (why did Plies get on a better beat than Jay-Z, Andre 3000 or T.I.?).

Freddie Gibbs and Lil Wayne almost save this hustler’s overambition, but what he really needs is an editor.

— Dan Weiss, Philadelphia Inquirer

ELLIOTT MURPHY

Album: “Elliott Murphy” (GB Music)

Grade: A

“This man keeps struggling to sing his own song,” Elliott Murphy confesses on “Train Kept a Rolling,” the reflective number that closes his latest album.

Well, struggling is not exactly correct. The onetime “new Dylan” seems to be doing quite well. It’s easy to see why Bruce Springsteen has been such a loyal friend and fan. And this album reveals his muse to be as sharp as ever.

You can still hear where some of the Dylan comparisons come from — there’s some resemblance in the voice and phrasing, and the wordiness of the folk-rock opener, “Poise ’N Grace.”

But after that Murphy presents a set of songs that are among his most moving and emotionally direct, without sacrificing depth or nuance.

It also helps that they are framed by rich and varied arrangements, from the string-kissed gentility of “With This Ring” to the wild abandon of “Rock ’n Roll ’n Rock ’n Roll.” “Makes me feel alive,” Murphy sings of the latter.

As with just about everything else here, he gets you feeling the same way.

— Nick Cristiano, Philadelphia Inquirer

ELLIS MARSALIS

Album: “A New Orleans Christmas Card” (ELM Records)

Grade: A

Just when you think there’s no more to be squeezed from standard Christmas tunes, pianist Ellis Marsalis comes along to find the fat, soulful parts.

The father of the marvelous Marsalis clan proves sweeter than Hawaiian bread and a better source of fiber.

He gives the tunes respect, but manages to throw some fairy dust on these often slinky interpretations.

Working with his drummer son Jason, bassist Bill Huntington, vibraphonist Roman Skakun, and singers Cynthia Thomas and Johnaye Kendrick, Ellis Marsalis makes these ditties consistently compelling with no show or bombast.

Some pleasant glow arises from these straight-ahead proceedings, and the funky, New Orleans rhythms that animate “The Little Drummer Boy” are a bonus.

— Karl Stark, Philadelphia Inquirer