Lit

“Lit” (Nitrus/DRT/Dirty Martini)

Compare to: Eve 6, Bush,3 Doors Down

Lit’s last album, “Atomic,” was a disappointing follow-up to its previous efforts. It was just more of the same, meaning more catchy pop rock about relationships, sex, drugs and Cadillacs. There is nothing wrong with a proven formula, but the songs on “Atomic” had been done before countless times, often with better results.

After an amicable split with RCA Records, Lit spent three years crafting its newest LP. The new album, self-titled “Lit,” is a much darker and heavier beast. Fans of Lit will be taken back with surprise. The sound is much more serious and somber.

The first track in “Lit” is arguably the worst. Titled “Too Fast For A U-Turn,” it is a strictly average track. There is no hint of originality or energy. Fortunately, the album picks up greatly from here. The first big sign of change starts with the fourth track, “Times Like This.” The sound is much grittier and heavier. Singer A. Jay’s vocals are subdued in this track, a change from his usual wailing. The rest of the album switches from happy and upbeat to dark and brooding. One thing that this album definitely has is variety.

The standout tracks are “Pictures Of You” and “Lullaby.” “Pictures Of You” is actually a Cure cover. Lit’s version of this song is great, faithful to the original yet still displaying Lit’s energetic style. “Lullaby” is an acoustic song, something Lit has experimented on in the “Atomic” album, but perfects here.

So is this the best Lit album yet? No. Most people will probably prefer “A Place In The Sun.” However, “Lit” is a very close second.

Longtime fans will lap this one up, and new fans will appreciate the quality and variety in this album.

— Jay Kim

Various Artists

“Spider-Man 2” (Sony)

Compare to: “The Punisher,” “Hellboy”

As the Spidey saying goes, “With great power comes great responsibility.” Too bad director Sam Raimi didn’t heed this warning when he put together the soundtrack to “Spider-Man 2.”

Sure, there’s a handful of catchy songs this time around. Unfortunately, this mind-numbing “catchiness” is going to get pretty old after the film’s success keeps two or three of these tunes plastered across MTV and Clear Channel for the next three months.

The good news is, there’s no Nickelback to drive us all to the brink of insanity every time we turn on the radio. The bad news is, there’s plenty of Dashboard Confessional.

It may at first seem odd to have Chris Carrabba, the man with the biggest ovaries in rock, to carry the torch for such a bad-ass like Spider-Man, but the web-slinger and the tear-jerker have a lot in common.

What’s tragic is that even though he’s perfect for the role, “Vindicated” is one of the least meaningful songs Carrabba has ever written.

Things only get worse from there. Songs by some of rock radio’s biggest names — including Hoobastank, Lostprophets and Smile Empty Soul — follow suit with monolithic, production-heavy bores.

“Spider-Man 2” even attempts to serve as the springboard for a number of post-punk and pop-punk bands that have been missing for a few years, but their contributions never get off the ground. Taking Back Sunday, Midtown and The Ataris all do their best, but the hype is better than the product.

Only two songs — Jet’s “Hold On” and Yellowcard’s “Gifts and Curses” — come close to capturing the humility and tragedy of Spider-Man, but the rest of the album is a mismatch. Even by sequel standards, the music for the second installment of this comic franchise is nothing but a few tasty morsels caught in a web of monotonous modern-rock mediocrity.

— Aaron Ladage

The Dead Science

“Submariner” (Absolutely Kosher)

Compare to: Radiohead, The Beta Band, Sigur R¢s

Typically, you can’t tell a band’s true worth until its second or even third album. It takes a little while for an ensemble to reach maturity, and to find out what it can really accomplish. Every once in a while, a group pushes itself into the music scene with a really good head start on the whole “maturity” thing. “Submariner” is The Dead Science’s first full length album, and it’s absolutely delicious.

“Submariner” incorporates elements of jazz and noir pop and makes them fuse into a dark blend of rock. On top of that, Sam Mickens’ honey-smooth vocals surround the instrumental sounds from Bischoff brothers Jherek and Korum.

And what an instrumental sound it is. “Submariner” is a collage of synth and contrabass and strings. Michael White, Kendal Seager and Paulo Pereia collaborate their talents on violin and cello. There are very clear jazz bass lines, and even some improvisation on the track “Threnody,” making the album a tour of genres and a true pleasure to the senses.

Most all appearing on the album are from Seattle, and Mickens and the Bischoff brothers were formally known as The Sweet Science.

“Submariner” gives a hint of the same air felt in the Cursive album “The Ugly Organ” — kind of melancholy and interesting. Another likeness to Cursive is held in the feeling you get at the end of the album. “Submariner” leaves the impression that the album following will be an explosion into another tone, or even genre.

For now though, The Dead Science flows onto the music scene with an album that serves as a wake up call for anyone experiencing a summer music rut. “Submariner” is refreshing through its diverse sounds and complicated layers. If this album is evidence of an immature sound for this group, then immaturity serves it very well.

— Kathryn Fiegen

Keller Williams

“Stage” (SCI Fidelity)

Compare to: Michael Hedges,Martin Sexton, Victor Wooten

Keller Williams has finally released an album that captures the magic of his live show. Sure, he tried with Loop in 2000, but his live performance wasn’t where it is now, plus he didn’t have the resources or exposure needed to create a truly successful live album. The time came to try again, and K-Dub delivered with the two-disc Stage.

If you’re not aware, Keller Williams is literally a one-man band, creating the illusion of several musicians on stage by using a technique called looping, or in technical terms, “live phrase sampling.” What he does is play or sing something, then loops it, then plays something else over that, and so on and so forth. What it amounts to is Keller playing bass, rhythm guitar, a horde of percussion instruments, lead guitar, and random electronic instruments, plus making various mouth noises and singing, seemingly all at the same time.

The first disc, “Stage Left”, is a little more subdued than the second. Its best moments are “Dance of the Freak,” which highlights Keller’s techno side; “Rapper’s Delight,” originally by The Sugarhill Gang and a cover of Van Morrison’s “Moondance.”

Keller’s covers are different, though. He performs familiar tunes over original ambient musical backgrounds, so that the songs are only recognizable once the lyrics or bass line comes in, making for nice twists on old songs.

Disc two, Stage Right, shows off Keller’s outgoing side. Songs like “Dudelywah” and “For What It’s Worth” flaunt his surprising prowess on the bass, “Cracker Ass Cracker” has him playing slide guitar, and he goes nuts on percussion throughout the whole thing. “Stage” is an impressive representation of what Keller Williams does live. Although a few of the songs sound alike, the two discs are almost as impressive as his live show. Almost.

— Aaron Butzen