Wainwright Kin and Wonder Twins

Lucy Wainwright Roche "8 Songs" (7/10)

Throughout the years, the Wainwrights have had much success in the indie music business. Louden was a world-renowned songwriter in the 80s, and his children Rufus and Martha followed suit, making some of the most interesting and unique albums of the last decade. Even though the newest member of the family, Lucy, might only be a half-sibling to the twosome, she continues the tradition of great Wainwright CDs.

More often than not on the self-explanatory "8 Songs," Lucy uses her voice like a cannon, emphasizing every note as if it is the last she'll ever sing. While initially pleasant, this can wear upon the listener after several spins. It doesn't help that it's clear as a bell when she uses it in this manner, as it feels more like an attack upon the ear than a sweet lullaby. There are exceptions to this rule, as she demonstrates on "The Next Best Western," where at times she barely sings over a whisper.

As for the songwriting, it is simply exquisite. In typical folkie tradition, she uses little (or no, in the beautiful case of B. Allen) instrumentation and lets the words speak for themselves. Several covers are present here, from a traditional English ballad (Wild Mountain Thyme) to Fleetwood Mac (Everywhere). These do not differ in quality from her original compositions, which gives the CD a feeling of coherency and clarity.

It would be wise to give this little EP a listen if you like any type of traditional stripped-down music. While she can be a bit bombastic (as much as a folk artist can be), it really is a wonderful set of songs that will brighten your day.

Tegan and Sara "Sainthood" (9/10)

In the last 10 years, the Canadian group Tegan and Sara have flown under the radar in the realm of pop music. It's not for lack of a hook: lesbian twins? Hollywood eats that crap UP. But they reached beyond what could be a serious gimmick (see: Jason and deMarco) to bring us some of the best indie-pop of the new century. Their last album, "The Con" was very dark and J-pop influenced, making for unique quasi-hits like "Back in Your Head." They had hit a plateau of brilliance and no one thought they could match it.

Thankfully, the girls agreed. Which is why they took a step back on their fifth studio release and decided to make fun, frolicy, under 3-minute pop ditties. While there is some dose of art consciousness on "Sainthood," they never move away from the hooks and finger-snapping lyrics that they have made their primary goal. For instance, "Alligator," with it's xylophone and electronic production, is a lesson in a great, light, catchy tune. This is a standout on the record, but it doesn't end there. The opening track, "Arrow," and the first single "Hell" follow the same doodley blueprint.

Like I said before, the CD is not without a measure of sophistication. "The Cure" and "Wrists" in particular showcase the duo's aptitude for taking lyrical risks and succeeding every time. The album lags just for a short spell at the end, but that barely matters when the material is as fresh and interesting as this.