record reviews

September 9, 2012 at 12:00a.m.

MATCHBOX TWENTY

Album: “North”

Grade: B-

“Parade” — the opening track of Matchbox Twenty’s first studio album in 10 years, “North” (Atlantic/Emblem) — is all about trying to figure out how long to stay in the middle of all the excitement.

Rob Thomas seems to be trying to convince himself, and maybe his bandmates, when he sings, “You don’t want that parade to leave you now.”

It’s an interesting sentiment, especially when so much of “North” sounds like the band rushing to catch up with the pop-rock parade it used to lead in the ’90s, with “Push” and “3a.m.” It seems to explain why the band tries on so many different styles throughout the album, some that work and some that don’t.

The first single, “She’s So Mean,” is one that works, picking up the pace, adding some snark and turning up the drums in the mix so they’re almost dueling with Thomas’ vocals. The gorgeous ballad “Overjoyed” has a modern country feel, reflecting some of the recording sessions the band did in Nashville, while “I Will” gains power from stripping down the production to its acoustic essentials.

So why would they go for a ridiculous Maroon 5-styled dance-pop number such as “Put Your Hands Up”? Or the ’80s goofiness of “Your Song” and “Like Sugar”? Rather than sounding current, they end up sounding even more dated, the aural equivalent of seeing your grandfather in skinny jeans. “North” has some great moments, but it also suffers from a lack of direction.

— Glenn Gamboa, McClatchy Newspapers

ANIMAL COLLECTIVE

Album: “Centipede Hz” (Domino)

Grade: B

With 2007’s “Strawberry Jam” and 2009’s “Merriweather Post Pavilion,” Animal Collective harnessed their wildness by employing wonderful Beach Boys-inspired harmonies and joyful, singsong melodies, many of which bore Panda Bear’s stamp.

The quartet’s 10th album, “Centipede Hz,” takes no such directions: It’s dense, dizzying, and often distorted, a frenetic, psychedelic headphone record, with drum-circle pounding, unhinged shouting, and oscillating, frenzied electronics.

The opening track, “Moonjock,” hurtles breathlessly while leaping through contrasting rhythms and fragmented melodies.

“Today’s Supernatural” is punctuated by staticky explosions and throat-shredding yelling. Somehow, the album is not as alienating as it could have been: Though buried deeper, the flashes of melody are still there, and the sheer density of information — layers and layers of keyboards and rhythms to discover on each listen — makes “Centipede Hz” intriguing and appealing, if challenging.

— Steve Klinge, McClatchy Newspapers

BOB MOULD

Album: “Silver Age”

Grade: A

“Silver Age” (Merge) is the Bob Mould album that will blow his cover. One listen, and everyone will know that the former Husker Du and Sugar front man is one of indie rock’s best and most influential songwriters.

Although he’s never released a bad album in his three- decade career, this one crackles with a renewed fire on “The Descent” and “Keep Believing,” backed by Superchunk drummer Jon Wurster and Verbow bassist Jason Narducy. You can hear why Foo Fighters idolize him on the melodic but pounding “Briefest Moment,” and why the grungy ambition of “Steam of Hercules” will bring him loads more followers.

— Glenn Gamboa, McClatchy Newspapers

CAT POWER

Album: “Sun” (Matador)

Grade: B

“Sun” is the first album in six years for Cat Power, aka Chan (pronounced “Shawn”) Marshall, and it represents a significant makeover for the now 40-year-old indie heroine.

Along with a new short haircut, the pianist and songwriter has a new way of making music on her self-produced eighth album, relying on electronic keyboards and beats and eschewing the dusky piano musings of her ’90s work and the Memphis soul moves of 2006’s “The Greatest.”

“Sun” also has the clear-eyed severity of a breakup album, and at its best, as on “Cherokee,” “Real Life,” and the terrific single “Ruin,” it winningly mixes languorous beauty with carpe diem.

“Sun” hits a rough patch in the middle, but recovers toward the end with the unexpectedly effective 11-minute “Nothing But Time,” a rewrite of David Bowie’s “Heroes,” featuring moral and vocal support from Marshall’s fellow Miamian, Iggy Pop.

— Dan DeLuca, McClatchy Newspapers

2 CHAINZ

Album: “Based on a T.R.U. Story” (Def Jam)

Grade: C+

2 Chainz is this year’s rapper de l’iti. Drake dragged him on tour. Kanye featured 2C on his seasonal hit “Mercy.” Lil Wayne is holding up release of his own record so that Chainz can bask in No. 1 Billboard glory. Why 2 Chainz, a member of Atlanta’s Playaz Circle, is getting such affirmation isn’t completely certain. His rough lyrics and flow do contrast intriguingly with the glossy tracks he’s on.

On his mix tape “Codeine Cowboy,” the title tune features an inelegant drawling style that attests to an innate nastiness.

That nagging malevolence and downright distastefulness are solidly rendered even if they get tired fast. As in “Yuck!” Chainz seeks ladies not experiencing “their monthlies” while a soundtrack of bristling beats and plush tones waft below his misogynist treachery.

On “Extremely Blessed,” he takes a date to the Waffle House — then calls her a chickenhead. Luckily, producers such as The-Dream soak Chainz in a crhme caramel velvetness while his aforementioned pals and other guest artists help tell (sell) this “T.R.U. Story.”

More of the cool blue Rap&R&B that silks the track “Stop Me Now” would have worked wonders. Still, this “Story” is a salacious, audacious treat.

— A.D. Amorosi, McClatchy Newspapers

ETTA BRITT

Album: “Out of the Shadows” (Wrinkled)

Grade: B+

Out of the Shadows” is a title that aptly describes what is going on here: The debut solo album of a singer who has made a career, going back to the late ’70s, of being a backup vocalist.

It may be a long time coming, but Etta Britt has certainly made the most of her chance.

The Nashville-based Britt shows the kind of versatility that has made her a singer’s singer, while still lending the album a cohesive feel.

She goes toe-to-toe with Delbert McClinton as they tear through the roadhouse rave-up “Leap of Faith,” but she is equally at home uptown on the smoother and more sensual R&B of “High.”

Country-soul comes to the fore on a standout version of “The Chokin’ Kind,” but the set’s rootsy thrust also gives way in a couple of places to elegant piano-and-strings ballads.

Amid writing contributions by Gary Nicholson, Paul Thorn, Michael McDonald, and Harlan Howard, Britt contributes some originals — most notably the poignant and deeply personal “Quiet House” and “She’s Eighteen” — that reveal she is more than just a powerhouse interpreter.

— Nick Cristiano, McClatchy Newspapers