cd reviews pop/rock
Tokyo Police Club, "Elephant Shell" (Saddle Creek)
This four-piece Toronto postpunk band caused a stir in indie circles with "A Lesson in Crime," an urgent EP released two years ago. This first full album feels an awful lot like a second one. The driving beats, chiming keyboards and sharp but shapely riffs are all in place, as is the reedy, slightly fey singing voice of David Monks. Each song charges out of the gate, takes a few quick laps and then crosses the finish line in less than three minutes (save one). And once again the mix of propulsion and polish recalls the Strokes. But Monks sounds more high-minded than before, as he sings of constellations, architects and submarines. There are moments worth savoring -- the wickedly resourceful arrangement of "Graves," for starters -- but not a lot that sticks. The band plays May 6 at the Varsity Theater in Minneapolis. 5311
NATE CHINEN, NEW YORK TIMES
Moby, "Last Night" (Mute)
Heaven love Moby for handing the swish and slam of Hi NRG, electro, diva dramatics and rave rhythms to those who missed out in the 1980s. From the Taylor Dane-inspired vocals of "Disco Lies" to the jovial piano run of "Everyday It's 1989" and the glamorous halt of "Ooh Yeah," this CD is a speedy history lesson. But it's a fresh, never retro sound. Moby may have left the powerhouse theatrics to a few stewing crooners and its amped pulse to drum machines, but the dawn's early quiet of "Lucy Vida" and its ambient hush sound solely like vintage Moby. 5312
A.D. AMOROSI, PHILADELPHIA INQUIRER
Jordan Zevon, "Insides Out" (New West/Ammal)
Jordan, son of the late Warren, has the old man's flair for lyrical prowess, but he's in a much more pop-based mode. There are echoes of Nick Lowe, XTC, Ben Folds and even early Graham Nash on songs such as "This Girl" and the powerful piano-based Warren homage "Home." Jordan co-wrote most of the tracks but borrows a page from his father's songbook with a stirring take of "Studebaker." 5313
