Guster “Keep It Together” (Reprise)

Compare to: The Eels, Wilco, The Nadas

Rating: 7

Guster may be a low-profile group, but tiny and distinct qualities contained in their music stand out from other alternative bands. An aura of confidence surrounds the timidness encompassed in “Keep It Together,” Guster’s fourth studio album.

The songs on this album steadily bounce back and forth between mellow, serene acoustics to more lively and chipper-sounding beats. These likable transitions were able to keep my interest throughout this fresh and introspective record.

The first song drawing my attention was the second track, entitled “Careful.” The perky, catchy tune is sung by the gorgeous voice of Ryan Miller, the group’s lead singer.

Upon hearing this song, I was excited to see what the rest of this melodic CD had to offer.

The fifth track, titled “Homecoming King,” is an enjoyable and bittersweet anthem of high school resentment. However, it seemed to be missing something. It just didn’t have the ooomph I was waiting for.

The title track on “Keep It Together” is quite pleasant. The inspirational lyrics it presented brightened my mood.

Even though this song wasn’t the best song on the album, I enjoyed its ability to leave a lasting impression.

Guster finally starts to really rock by the time the tenth track, titled “Red Oyster Cult” rolls around. I was able to detect much more emotion in this track than the others.

“Keep It Together” is a CD that possesses an overwhelming sense of pleasantness.

This is a good thing — except sometimes it can get boring. I felt like I needed just a little kick here and there to spice things up a bit.

— Annie Krumhardt

Rooney “Rooney” (Geffen)

Compare to: Weezer, The Beach Boys, Phantom Planet

Rating: 5

Robert Carmine, as he’s named in the CD booklet, is the lead singer of Rooney. Carmine just happens to be the younger brother of Jason Schwartzman (“Rushmore,” “Slackers”). Not only do the two share the sacred kinship of brotherhood, but are also both musicians and actors.

Carmine is the heartthrob in Disney’s “The Princess Diaries,” a movie which I freely, though with slight embarrassment, will admit I watched repeatedly last summer with my neighbor, though solely to look at his pretty face instead of watching Mandy Moore’s acting.

Around the time I was watching “The Princess Diaries” on a regular basis, a sweet friend of mine gave me a collection of Rooney songs on a CD.

I feel like the homemade CD was better than this newly released self-titled debut.

I don’t want to be to hard on it, but it’s just plain boring.

“Blueside,” a song heavily reminiscent of a Beach Boys sound, seems the most pleasing and promising track on the album. “Sorry Sorry” is pretty good, too, telling quite the tale, “I’m sorry sorry for making your life a living hell.”

Rooney differs from popular bands of the present in the sense they don’t complain about being dumped, but rather talk about using girls.

Their sound is almost identical to the Phantom Planet’s first album, the band Jason Schwartzman is in. The second album released by Phantom Planet has a lot more depth and variety than their debut.

So maybe like his older brother, Carmine will come up with a better second album that takes some risks. With that said, there seems to be hope for this foxy band.

— Ramona Muse

Black Eyed Peas “Elephunk”

Compare to: Jurassic 5, A Tribe Called Quest, Slum Village

Rating: 5

Since the group’s formation in Los Angeles in the early 1990s, the Black Eyed Peas have carved their own niche in the hip-hop world by keeping their message positive and avoiding rap clich‚s such as violence, money and demeaning women.

With their newest disc “Elephunk,” the Peas dish up a booty-thumping party record, a welcome addition to any backyard barbecue, as well as a staple on the dance floor.

Rappers Will I Am, Apl de Ap and Taboo deliver the kind of old-school flows Peas fans have come to know and love, and new addition Fergie adds her soulful vocal style to the record, sounding like a less-nasal Nelly Furtado.

The Peas have always had guest appearances on their records. “Elephunk” is no different, featuring Papa Roach on the rock/rap collaboration “Anxiety.”

Although working with Papa Roach may appear as a cheap attempt to lure in rock kids, the track is an interesting departure for both groups.

In fact, the poppy track could be the sequel to 2001’s star-filled cover of Marvin Gaye’s “What’s Going On?”

Although the majority of the album is light-hearted, “Elephunk” takes a look at some bigger issues. On a hidden track, the Peas sing, “He was foolin’ me once before/ But he’s not foolin’ me twice no more.” Just when you begin to wonder who they are referring to, they sing, “If Bush is Pinocchio/ Then who the hell’s Gepetto?”

Regardless of your political affiliation, this is a smooth, funky record that begs to be bass-boosted. Although the elephant may be the symbol for the Republican party, “Elephunk” is sure to be the new symbol for this summer’s dance parties.

— Casey Jones

Sarah Brightman “Harem”

Compare to: Enya, Andrea Bocelli, Celine Dion

Rating: 8

Sarah Brightman, the soulful siren who has been around the music industry for ages, is back with the new release “Harem,” an album that defies the norm of pop music standards.

Brightman uses her own creativity to give the world an album that is uniquely different.

Remembered as Christine in the hit Broadway musical “Phantom of the Opera,” her enticing voice and high-pitched amplitude that had brought her to that historic role can be found on this enticing album.

“Harem” starts out with the title song, rich with Brightman’s Middle Eastern influences mixed in with a techno twist. The musical instruments in the beginning draw the listener into the illusion of mystery.

Brightman also adds a new, refreshing vision to “What a Wonderful World.” In this song, she sounds much like Celine Dion — but throughout the song, one can hear the lyrical influence of Louis Armstrong and author George Weiss.

She adds a much-needed instrumental background to the song, making this classic oldie available for today’s listeners.

“Stranger in Paradise” refers back to Brightman’s Broadway days. She sings softly with an orchestra much like one would hear in a Barbara Streisand song. It’s not the music of “Stranger in Paradise” that draws listeners, but instead the strange high-pitched lulling of her voice.

Brightman’s musical ability sets her apart from the other artists in New Age music. She has a long background in the genre, but now with “Harem,” she will definitely be remembered for her creative and unapologetic standards.

—Xiomara Levsen