Will Smith

“Lost and Found”

(Exit Stencil Recordings)

Compare to: MC Hammer, Usher, Timbaland

In the epic 1996 blockbuster movie “Independence Day,” Big Will Smith prevented invading alien baddies from blowing up America’s major cities. Now, almost a decade later, Big Willie is the one dropping bombs.

“Lost and Found” marks Will Smith’s return to the rap game. Still as vocally sharp as Jim West with a pistol, still as uncontroversial as Bagger Vance in khakis.

The album doesn’t stray far from what we’ve come to expect from Big Willie. His rhymes are still unlike most contemporary rap because it remains clean and therefore packs enough fun for the entire family and the audience of “Shark Tale.”

The rhyme structure is simple enough so that even listeners who typically stray from hip-hop will be able to follow it.

In essence, Will Smith has crafted what is perhaps the most white person-accessible hip-hop ever.

Most of the lyrical content finds Smith revisiting his old stomping grounds of all-night parties and dance marathons.

In addition, a lot of the songs come across as Smith trying to clear his name and legitimize himself as a rapper rather than be labeled as a movie star turned MC.

Sure, this might not be as exciting as Mike Lowrey’s harrowing car chase after Cuban drug dealers through Miami, but there are enough catchy tunes here to keep a party bumpin’.

— Dante Sacomani

The Red Death

“External Frames of Reference”

(Metal Blade)

Compare to: In Flames, Unearth, Heaven Shall Burn

With seemingly hundreds of bands forming in the last few years and a deluge of subpar albums to go along with them, heavy music fans are quickly developing an immunity to the musical pandemic known as metalcore. But with “External Frames of Reference,” the mad scientists in The Red Death are developing a deadly new strain.

Sure, the album is loaded with plenty of the Swedish death metal worship fans have come to expect from the genre. Unlike other metalcore bands, The Red Death doesn’t always go for the easy way out in the songwriting department, more often than not eschewing the obvious breakdowns in favor of sorrowful, epic sounding middle sections that wouldn’t be out of place on an old-school thrash album.

Even though The Red Death is guilty of a few metalcore cliches, the band manages to pull them off with a finesse many of its peers in the genre sorely lack. Vocalist Paul Hamblin unleashes a blackened rasp that sounds like he took singing lessons from the devil himself, and Joshua Williammee and Aaron Conti’s twin guitar work is catchier than the crap you caught during Spring Break.

Although other metalcore bands might only give heavy music fans a case of the sniffles, with “External Frames of Reference,” The Red Death will kill you.

— Joshua Haun

John Butler Trio

“Sunrise Over Sea” (Jarrah)

Compare to: Widespread Panic, Moe, Keller Williams

John Butler looks every bit the individual with long, thick dreads and long fingernails, and the individuality expands throughout his music. His third release, “Sunrise Over Sea,” is a refreshingly honest album filled with socially conscious lyrics.

This Australian-based trio dominantly plays with guitar and percussion, but the didgeridoo (Australian trumpet) found in select tracks adds a unique world sound. The use of strings in the ballad “What You Want” enables the listener to truly feel the musician’s pain.

The treatment of Mother Earth and the involvement of large corporations in society is questioned in songs such as “Treat Yo Mama” and “Company Sin.” Butler expresses love for his wife and daughter on heartfelt tracks such as “Peaches and Cream” and “Seeing Angels.” “Zebra” is clearly the catchiest track on the album, one that listeners will find themselves still singing hours later.

The John Butler Trio exceeds fitting into any genre of music; rather, its roots can be found in blues, rock and folk music. Each track on the album is unique and different, yet all tie in cohesively to address bigger social issues. “Sunrise Over Sea” taps into the listener’s head, forcing him or her to hear the larger message that the John Butler Trio is attempting to express. It is simply trying to raise consciousness and change the world, one song at a time.

— Ashley Garbin

Hot Hot Heat

“Elevator”

(Sire Records)

Compare to: OK GO, Phantom Planet

For fans of Hot Hot Heat, save your $15 — its new CD, “Elevator,” does nothing that hasn’t been done before.

This is not a bad album by any means, it is just a little tired. One thing it has going for it is the cover art and the song layout. If you’re a cover art lover (and if you’re not, you should be), you will appreciate the giant hands that appear to puppeteer several human silhouettes in a brilliant display of artwork.

When the CD is turned over, one will notice that the songs count down from 15 to 1, ending with “Introduction.” The lyrics in the booklet are also in reverse order. Whoever designed this project should get a pat on the back.

With that said, there are some catchy riffs and clever lyrics. There are very danceable beats and some interesting instrumentals, but overall, it feels like it’s all been heard before.

Overall, this is a polished product both musically and physically. Just don’t expect this CD to fill much of the music-crazed void in your soul — there are other recent releases that can do that much better. If you’re a fan of the genre, don’t overlook this album, but don’t expect much from it, either.

— Dan McClanahan