Unwritten Law “Music in High Places” (Lava/Earth Escapes)

Compare to: New Found Glory, Jimmy Eat World, Box Car Racer

Rating: 7

Apparently, a bomb blast to the head can make a musician do really strange things.

Last August, Unwritten Law guitarist and backup vocalist Scott Morris suffered a concussion and injuries to his eardrums and arms after two homemade bombs exploded near his home. The band was forced to cancel several concert dates, but were back on the road within a matter of weeks.

Shortly before this incident, however, Unwritten Law recorded a performance of many of their songs for the MTV series “Music in High Places.” The show, which features musicians performing unique arrangements of old hits, sent the electric quintet into Yellowstone National Park to record acoustic versions of its material.

When picturing a band as intense as Unwritten Law recorded in the peaceful outdoors, it’s easy to imagine the acoustic equivalent as a poorly sung, poorly played and poorly recorded travesty. That notion is false, but the album still has some issues.

The playing itself is surprisingly good. Once the band members are separated from their amplifiers, the technical abilities of Morris, along with lead singer and guitarist Scott Russo, guitarist and backup vocalist Rob Brewer, bassist Pat Kim and drummer Wade Youman really shine through. Songs like “Seein’ Red,” which sound rather simplistic as studio versions, are transformed into acoustic masterpieces, thanks to the talent of the band members on an individual basis.

Even the recording quality of the album is impressive. With an even split between live and outdoor recorded tracks, it’s amazing how the songs come across with little distraction from crowd noise or the occasional wandering moose.

Russo’s usual gravel-filled wail of a voice is one of the best parts of this album. Whereas his usual tone is somewhere between a scream and a 3 a.m. drunken karaoke singer, it comes across smooth with acoustic guitars and bass. Unfortunately, Russo’s newfound love for gentler rock also makes Unwritten Law’s weakest point — lyrics — more noticeable. In “Up All Night,” Russo laments “Cuz we’re all right, we’re up all night/To see the sun come up again now.”

The music may have been reworked musically, but now the lyrics just sound like cheesy pop-punk without a cheesy pop-punk sound to back them up.

— Aaron Ladage

The New Folk Implosion “The New Folk Implosion” (Imusic)

Compare to: Beck, Neutral Milk Hotel, Olivia Tremor Control

Rating: 7

Lou Barlow is a man responsible for much of the history that has led us to today’s indie music. First, he formed a high-school band called Deep Wound with J Mascis that would eventually lead to the legendary Dinosaur Jr.

The group morphed and transmogrified to Sebadoh, Sentridoh, Lou Barlow solo and then Folk Implosion. You might only know him for that song from the “Kids” soundtrack, but Lou Barlow’s incredibly influential.

This time around, Barlow has reinvented his wheel once again. After recruiting new band members and dropping the samples that drove much of his recent work, he rechristened this group “The New Folk Implosion.”

On this self-titled album, Barlow proves himself yet again as one of the most talented and prolific songwriters in recent years. Hell, you’d have to be after working your way through more than a half-dozen bands.

The subject matter is brooding and personal and Barlow’s songs paint a darkly complex picture. Many of his themes cover the low points of guilt, regret, self-doubt and disappointment.

On “creature of salt,” Barlow admits his humanity when he says “Go easy on me/I’m a creature of salt/dissolving in front of your eyes.” Barlow is definitely one who is in touch with the darker side of his psyche — not that he doesn’t have a sense of humor. This humor is brought out through many of his musical techniques.

The segue between “coral” and “leaving it up to me” is a high-pitched computer-generated voice of a seemingly absent member of the band who wants the drum to be higher in the mix.

The latter of the two aforementioned songs is a layered ditty that throws rich vocal and guitar harmonies over a fuzz-heavy bass line and programmed drum tracks.

This album serves as a good sampler of where one of independent music’s greatest talents has been and also where he’s going. For his sake, let’s hope some fans make it through all the name changes.

— Jesse Stensby