Tori Amos

“The Beekeeper” (Epic)

Compare to: Jann Arden, Chantal Kreviazuk, Ani DiFranco

If there were ever a time Tori Amos should have fully indulged in the raw sound and eccentricity she pulls off so well, it would have been with the making of her eighth studio album, “The Beekeeper.” Amos, however, decided to play it safe this time.

Offering listeners a collection of the singer’s thoughts and feelings toward the demise of U.S. culture, “The Beekeeper” takes a step away from the unconventional styling Amos favors. Instead, it brings a 19-track album built on simple melodies and structures — and lacking in focus and depth.

Because Amos is a veteran, she knows if she takes away one thing, she must provide another. This time around, Amos plays around with a number of musical styles including folk, funk, soul and gospel.

“Sweet the Sting” and “Witness” both carry a soulful groove that’s heightened by the use of a gospel choir to provide backing vocals. “Cars and Guitars” and “Hootchie Woman” introduce playful, sultry vocals from Amos — something that’s not common on “The Beekeeper.”

Amos also exchanges her piano in for a B3 Hammond organ at times, creating tunes such as the title track, where her experimentation in flavor and funk almost makes up for her cautiousness.

“The Beekeeper” lacks the grit Amos needs if she actually wants to convey her frustration with American culture. What she brings is typical — and typical is something she should be far beyond by now.

— Katie Piepel

Chab

“Dub, Edits & Whiskey- Coke” (Saw Records)

Compare to: Erasure, Eastern Sun

Chab’s new album, “Dub, Edits & Whiskey-Coke” makes it clear why the drug ecstasy was invented — so people who enjoy crappy music can get high and forget that they listen to crappy music.

It would be accurate to guess that Chab’s album was made by some no-talent clown who is frustrated sexually or otherwise because he didn’t have enough skill to play guitar, bass or drums.

Instead, he went out to an electronics store and bought one of those “state-of-the-art” music-editing software programs, hoping that being able to say “I have an album out” would somehow increase his chances with the voluptuous blonde next door who just happens to like techno.

What he didn’t realize is that although he may be impressing the babe next door, he is making everyone else want to hang themselves.

Every track sounds about the same — five minutes of the same repeated beat. The only variation from song to song is no more than an extra snare beat or accent thrown in every other measure. Listening to them is about as much fun as watching the gardening channel with old ladies.

— Dan Hopper

High on Fire

“Blessed Black Wings” (Relapse)

Compare to: Melvins, Spirit Caravan, St. Vitus

After the demise of the legendary metal band Sleep, guitarist Matt Pike has decided to take a familiar, yet different direction with power trio High on Fire.

Coming off like the bloody results of a steel cage match between Motorhead and Celtic Frost, High on Fire’s third album “Blessed Black Wings” finds the band churning out another slab of weed and whiskey-drenched heavy metal at its most primal.

Although other bands in the genre attempt to dazzle listeners with guitar acrobatics and glossy production, High on Fire’s sound is the polar opposite: a down ‘n’ dirty rumble that sounds like a pack of mammoths stampeding over your skull. Sleep’s music created an aura of heaviness through sluggish tempos, but High on Fire’s music is far more dynamic.

On tracks like “Cometh Down Hessian” and “Devilution,” vocalist/guitarist Pike screams like he just swallowed sandpaper and flossed with barbed wire while unleashing guitar riffs that sound like Black Sabbath after a weeklong alcohol binge. They aren’t concerned with being technical or clever, as they focus on creating crushing sounds, an imposing brew of smoked-out doom metal and amphetamine-addled thrash.

Although High on Fire’s sound might not be the most original, few could argue that the album is a breath of fresh air.

— Joshua Haun

Towncrier

“Without a Trace” (Authentic)

Compare to: Matchbox 20, The Nadas, Lifehouse

Traditionally, local bands have gotten a bad rap for putting out boring, second-rate music that hardly deserves the little exposure it gets.

This could not be further from the case of Cedar Rapids native Towncrier’s newest album “Without a Trace.”

Produced by The Nadas’ Mike Butterworth on the band’s record label, “Without a Trace” is an example of a local band putting out music you would enjoy to hear played on the radio.

Starting with the first track, “What are you Waiting For,” the band shows it knows how to rock, and rock they do. On the softer “Time Spent,” however, Towncrier lets the listener know that distorted guitar and heavy riffs are not the only thing it knows how to do.

Transitioning well between song styles, Towncrier brings the listener everything from flashy guitar solos to mellow piano.

But “Without a Trace” is not without its flaws. The album, while musically top notch, does not bring much in originality. All of the songs bring the same standard rock sound that tends to dominate the genre.

Those who enjoy good, old-fashioned hard rock would be wise to check out Towncrier — but if you are looking for a pioneering new artist breaking new grounds, you might be left wanting a bit more.

— David A. Tillinghast Jr.