Neko Case, “Middle Cyclone” (Anti-) It’s easy — and justified — to anticipate each new Neko Case release the way a child waits for Christmas morning. Her journey from alt-country darling to poised singer-songwriter has often felt triumphant, and nowhere is that more clear than on “Middle Cyclone’s” cover art. The disc announces its playfulness with a photo of Case acting as a human hood ornament, wielding a thin sword atop a muscle car.
“Middle Cyclone” treats us to more of Case’s classy vocals, resonating with the clarity of an updated Patsy Cline. Her way with a heartbreaking melody is near legendary. But Case’s talent has grown too big for pedestrian arrangements, and that’s what often backs her here.
Still, songs such as “This Tornado Loves You” and “People Got a Lotta Nerve” plow the satisfying melodic ground Case is best known for, and grousing about her consistency is like decrying a delicious bowl of cereal. Case is a brilliant artist who always delivers, but at this point in her career it might be nice to get something we weren’t expecting.John Wenzel
Indigo Girls, “Poseidon and the Bitter Bug” (IG Recordings) Without the dramatic chemical interplay that happens between two very different singer-songwriters, the Indigo Girls would have faded into the ether more than a decade ago. The Georgia duo (that often tours and records with a full band) thrives on the differences of Amy Ray and Emily Saliers — what with Ray’s honest and clever assaults on melody and Saliers’ flittering transgressions on all things pretty.
And they’re keeping with that formula on their new CD “Poseidon and the Bitter Bug,” their first independent release in more than 20 years. Ray’s “Sugar Tongue” is slinking, downbeat pop that showcases her gorgeous, full-chested alto. Saliers’ “What Are You Like” is the natural single, but the song sounds like a B-side from the band’s early-’90s heyday. “Love of our Lives” is a better example of what Saliers does best: Sunny chords; foolishly sentimental lyrics; lovelorn optimism.
Thankfully Ray is there to level the scales with her lush, if occasionally dark, takes on defeat (“True Romantic”) and the coming-of-age experience (“Driver Education”). Ricardo Baca
Maria Taylor, “Ladyluck” (Nettwerk) Known for her angelic voice and soothing indie rock jams, Maria Taylor is no stranger to great albums. Her solo debut (after her Azure Ray days) “11:11” was an instant classic — an album so vulnerable and lovely and powerful that it stood out from most of the other records released in 2005.
Taylor’s third solo full-length — and her first post-Saddle Creek Records release — doesn’t fare so well. The singer-songwriter worked with longtime friend/collaborator Andy LeMaster, and while there are some nice moments in many of the songs, few of them stand on their own as solid tracks.
Single “Time Lapse Lifeline” has a winning verse or two, but ultimately the song sounds like selections from Taylor’s back catalog. And while the countrified “Cartoons and Forever Plans” (written by Taylor, LeMaster and R.E.M. frontman Michael Stipe, who also adds backing vocals) is the stylistic deviant of the group, it sounds odd, if incomplete, tagged there at the end of the record.Ricardo Baca
