Black Label Society: “Order of the Black” (E1)
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Freed up from his long-running, time-consuming gig as Ozzy Osbourne’s primary songwriting collaborator and guitarist, and now having a home studio in which he can spend as much time as he likes making music, one might have expected Zakk Wylde and his band, Black Label Society, to have been in perfect position to make a musical breakthrough with the new CD, “Order of the Black.” Instead, it’s pretty much more of the same from Wylde and company. For the band’s considerable following, that will be welcome news. They’ll get what they want — several pile-driving rockers like “Crazy Horse” and “Black Sunday,” some blistering lead guitar work and a few ballads masculine enough to have hair on them. Eight albums into his run fronting Black Label Society, though, one could wish Wylde would show more progression as an artist. But at least Wylde is consistent and reliable, and there’s something to be said for that. — Alan Sculley
Buy if you like: Ozzy Osbourne, Alice In Chains

Mike Posner: “31 Minutes To Takeoff” (J)
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Too often, it seems that albums that lean toward dance pop/electronic pop don’t offer much more than a simple — and admittedly addicting — hook and a clever turn of phrase for a lyric. Mike Posner may have the trendy electronic pop sound, but he obviously believes in the virtues of a well-constructed song and a lyric that actually has something to say. On his full-length debut, Posner stands out, first of all, for lyrics that tell a story. Some of his subject matter is common enough, but Posner finds fresh ways to get his point across. For instance, the ballad “Save Your Goodbyes” is a smartly worded kiss-off song (“Am I just a piece you push on your board game/Have you been laughing all day long?”). Other times, though, Posner throws in a twist that makes the lyric truly open eyes. “Cheated” puts some sting behind a bad relationship, as Posner concludes he should have cheated on his girl from day one. But Posner isn’t afraid to say he isn’t perfect. On “Gone In September,” he admits he’s more jerk than sweetheart after admitting his less-than-honorable intentions with a girl. The nice bonus is that the lyrics mostly come with nicely developed melodies and well-constructed arrangements. If Posner had come along in the pre-synthesizer/programming age of pop, these songs would have translated well to traditional instruments. That suggests the Posner’s music in general — and “31 Minutes To Takeoff” in particular — will stand up long after today’s popular electronic sound falls out of fashion. — Alan Sculley
Buy if you like: Erasure, ABC

Toadies: “Feeler” (Kirtland)
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Toadies frontman Todd Vaden Lewis once told me in an interview that one ingredient that makes a song sound like it works for the Toadies is that it has a twisted element. Those familiar with previous Toadies CDs such as “Rubberneck” and “No Deliverance” will know what Lewis means. But “Feeler” might be the Toadies album that best displays the dark, somewhat sinister — and yes, twisted — dimension in the group’s sound. Just note the vaguely creepy bass line that opens the song “Waterfall” or the chiming guitars that spook up “Mine.” Fortunately, any creepiness that seeps into the Toadies songs also comes with the kind of killer power pop hooks that Lewis has consistently built into the Toadies hard-hitting rock sound. “Waterfall,” for instance, also has some tasty guitar riffage. Even hookier are the songs “Dead Boy,” which upshifts into a powerful blazer, “ATF Theme,” an instrumental rocker, and “Trust Game,” which offers a prime example of the twisted/catchy combination that defines the Toadies sound. — Alan Sculley
Buy if you like: Cheap Trick, Everclear

Thieves & Villains: “South America” (Victory)
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The packaging for “South America” compares Thieves & Villains to Vampire Weekend, the Gaslight Anthem and Weezer. Don’t believe everything you read. Don’t expect to hear any of Vampire Weekend and that band’s imaginative rhythmic signature (sorry, the rolling beat on the song “Youth” isn’t similar in attitude or cadence) or the Gaslight Anthem’s blue collar anthems in Thieves & Villains. Only the Weezer comparison holds up — except that the “South America” CD is better than anything Weezer has done lately. Like Weezer, Thieves & Villains has a way with a big rocking pop anthem. But Thieves & Villains does power pop with more of an edge than most of Weezer (note songs like “Some May Call It Rain” or the title track).

The songs are still too sweet to evoke comparisons to the likes of Gaslight Anthem, Bruce Springsteen or the Clash. But the heft, not to mention the pure melodicism, that Thieves & Villains brings to the songs on “South America” makes this the kind of album that gives pop a good name. — Alan Sculley
Buy if you like: Weezer, Mayday Parade

Stornoway: “Beachcomber’s Windowsill” (4AD)
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Imagine if you will, a combination of Brian Wilson, ‘80s pop band Haircut 100, with a little Herb Alpert and the Tijuana Brass thrown in for extra measure. OK, so maybe that won’t have you rushing to check out “Beachcomber’s Windowsill.” But fortunately those reference points work better in practice than theory — at least where Stornoway and “Beachcomber’s Wiindowsill” are concerned. The group’s soft-around-the-edges pop/rock sound is not only refreshingly distinctive, it works well because it provides an ideal setting for the easy-going melodies that inhabit songs like “The Coldharbour Road” (whose insistent piano and strings recalls the Arcade Fire); “Fuel Up” (which indeed sounds like a carefree summer’s drive); “Here Comes The Blackout” (one of a few songs with a tasteful sliver of country); and “Zorbing” (a sunny track with some bright Alpert-like horns). And yes, Stornoway rocks from time to time, albeit not in a furious sort of way. But a song like “Watching Birds” works up considerable momentum behind a frisky beat and some propulsive guitar strumming. This album is a (mostly) gentle pop joy. — Alan Sculley
Buy if you like: Blitzen Trapper

Various Artists: “Scott Pilgrim vs. the World” soundtrack (ABKCO)
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Soundtracks can be hit or miss, but the best ones evoke a mood that suggests the film’s theme while standing entirely on their own. This one is a delight; a just-right mix of funny, quirky obscurities (the Bluetones’ “Sleazy Bed Track”; Frank Black’s “I Heard Ramona Sing”), time-bending classics (T. Rex’s “Rocky Horror”-worthy “Teenage Dream”; the Stones’ “Under My Thumb”) and Beck Hansen-created originals for Scott Pilgrim’s cutely punky band, Sex Bob-omb. Beachwood Sparks intriguingly deconstructs Sade’s “By Your Side,” and Sex Bob-omb’s “Garbage Truck,” “Threshold” and “Summertime,” make perfect, fuzzed-out sense. (Beck handled the instrumental work; the cast sings). Lots of standouts are here, including Metric’s “Black Sheep” and Beck’s own “Ramona,” an orchestral, ethereal break from the rockers. This soundtrack pulls one more feat: it makes you want to check out the movie. Should be a rockin’ good time. — Lynne Margolis
Buy if you like: Beck, Frank Black