Queens of the Stone Age

“Lullabies to Paralyze”

(Victory)

Compare to: Fu Manchu, Nebula, The Atomic Bitchwax

On 2002’s “Songs for the Deaf,” Queens of the Stone Age was a bona fide super-group, featuring former members of Kyuss, Nirvana and The Screaming Trees. But although some of that album’s superstar lineup appears on “Lullabies to Paralyze,” there are several glaring absences that ultimately make Queens of the Stone Age’s fourth album a less satisfying listening experience.

Most notably AWOL is former bassist/vocalist Nick Oliveri, who was fired from the band last year. On previous Queens albums, the heavy drugs and punk rock-fueled insanity of Oliveri’s contributions served as the perfect balance to lead singer/guitarist Josh Homme’s more laid-back approach. The absence of Oliveri’s unhinged musical personality makes “Lullabies to Paralyze” a far more predictable affair.

Despite several guests of honor failing to RSVP to Homme’s latest all-star jam, “Lullabies to Paralyze” is far from being terrible. Tracks like “Little Sister” and “In My Head” are some of Homme’s most infectious displays of songwriting to date, and ZZ Top’s Billy Gibbons lends some patented guitar voodoo to standout tune “Burn the Witch.”

All in all, “Lullabies to Paralyze” is a transitional album, as Homme begins to rely less on collaboration and increasingly attempts to mold the band in his own image.

— Joshua Haun

Mae

“Everglow”

(Tooth and Nail)

Compare to: Straylight Run, Saves the Day

Everglow” may catch you off guard. Mae’s sophomore effort goes above and beyond expectations. This is one of those albums that could easily become the new soundtrack to your life — it’s easy to dive into and has lasting appeal.

The booklet accompanying “Everglow” has artwork and illustrations that accentuate the story told by the audio, and a brief intro on the album tells the listener to please open the booklet and follow along to complete the “Mae Experience” — and what an experience it is. As cheesy as it sounds, Mae’s romantic lyricism and catchy riffs seem almost impossible to dislike.

Not only does the music stand tall on its own merit, the way it is presented puts the icing on the cake. Clocking in at just over an hour in length, “Everglow” doesn’t have any breaks between songs. Each track ends with a riff, beat or effect that moves right into the next song.

The group’s versatility has come a long way since its last release. Tracks like “We’re So Far Away” consist solely of piano and orchestration accompanying soothing vocals.

“Someone Else’s Arms” hits hard with edgy guitar riffs, pounding drums and belted vocals, all while maintaining the intricate syncopation and musicianship fans would expect.

To anyone in the mood for a fresh sound, or to anyone who enjoys good music, “Everglow” is definitely worth a listen.

— Dan McClanahan

Sinai Beach

“Immersed”

(Victory)

Compare to: Haste the Day, Norma Jean, As I Lay Dying

It has become painfully apparent that in the realm of metalcore, creativity is not something to be concerned with. At least that must be the thinking of the Christian outfit Sinai Beach.

The band’s sophomore full-length comes off as a piece of color-by-numbers metal rather than a sincere attempt at making music. Sure, there are plenty of breakdowns, solid guitar riffs and screaming, but none of it sticks out as making the album worthwhile.

Anyone who has heard any metalcore in the past few years should know exactly what this sounds like, and unfortunately, this flaw makes it hard to even sit through the entire album.

The band’s unexciting musical approach crosses over into its lyrics, as well.

Most of the songs deal with some aspect of religion, whether it is how the world has disgraced God or how Sinai Beach praises him for being tolerant and understanding of human kind. This lyrical approach comes off as incredibly preachy and no doubt alienates listeners of any faith other than Christianity.

Although many similar acts add singing that sounds like it belongs in a Taking Back Sunday song, Alderson’s clean vocals sound like a page ripped right out of Glenn Danzig’s playbook. Unfortunately, he is unable to make it sound good and it becomes yet another strike against this boring and thoughtless record.

— Dante Sacomani

De Novo Dahl

“Cats & Kittens”

(Theory 8)

Compare to: Super Furry Animals, The Fiery Furnaces, The Privates

They’ve invaded — the bands composed of skinny guys in tight jeans, blazers and cardigans singing semi-sweet lyrics in a straining, bee-stung sort of way. They’re cute, they’re seductive, they’re hip and they’re now.

Nashville sextet De Novo Dahl is one of them. Its first full-length, “Cats & Kittens,” is a self-produced double-disc set exploring a whimsical, eye-popping mix of indie quirkiness, ’60s rock and glam pop.

De Novo Dahl maxes out its energy on the first disc, “Cats,” with sneaky synth vibes and electro-pop rhythms, while “Kittens” is comprises funky, danceable remixes of “Cats.”

Serai Zaffiro, the lone female member of the band, levels out the amount of testosterone, offering up playful, innocent vocals. “Conquest at Midnight” is a short but sweet track centered on a dialogue full of cute, catchy lyrics.

“Meet me out back by the fire wood stack / Meet me ’bout quarter to one / We’ll have our way, but we won’t go all the way / ‘Cause I like just foolin’ around / ‘Cause it keeps my feet on the ground.”

Although the band offers a thrilling ride from start to finish, its sound has been heard before. De Novo Dahl fits among the plethora of experimental indie rockers and poppers who have invaded the music scene.

It just so happens, however, that most of these bands are worth listening to — De Novo Dahl included.

— Katie Piepel