Gospel rapper Lecrae’s new album is solid

Lecrae
“Gravity”
(Reach Records)

Christian rapper Lecrae doesn’t fit the typical mold of a gospel artist. His arms are covered with tattoos, he normally sports his hats tilted to the side and often wears slightly sagging pants.

Don’t let that be a distraction. The Houston native is a true talent with a unique ability to deliver thought-provoking messages on life without sounding like a Bible-thumping preacher. His rap approach has earned him praise by many in hip-hop, from veteran rapper Bun B to Lupe Fiasco.

On his sixth album “Gravity,” Lecrae delivers a strong piece of work. He’s not afraid to rap about his past mistakes, supplying inspirational rhymes filled with Christian values backed by well-produced secular hip-hop beats.

One of the best songs on the 15-track album is the DJ Khalil-produced “Mayday,” featuring rapper Big K.R.I.T. and 2011 American Idol contestant Ashthon Jones. Big K.R.I.T. is impressive on the soulful song, and Lecrae insightfully raps with substance: “Now I found true religion and it’s not inside no denim/and the overpriced shades will never give you vision.”

Lecrae attempts to educate about the pitfalls of street life on the high-energy “Violence.” On “Confe$$ions,” he raps that having an abundant amount of money doesn’t always equal happiness.

Other standout tracks are “Free From It All,” featuring Mathai, “Walk With Me,” with Novel, and “Tell the World,” including Mali Music.

Check out this track: “Lucky Ones,” featuring Rudy Currence, is a piano-driven song where Lecrae raps about being fortunate to receive a second chance in life through faith.

(AP)


Bob Mould back to old tricks

Bob Mould
“Silver Age”
(Merge)

Rooting for Bob Mould to sound like the old days can be a guilty feeling.

It’s an uncool itch you might not dare admit wanting to scratch. Because if anyone deserved slack while tinkering with techno and balladry for the last decade -- and doing a half-decent job at it, really -- it’s the indie rock pioneer behind Husker Du in the 1980s and Sugar in the `90s.

But “Silver Age” is permission to come clean with that nostalgia. Mould’s ninth studio album isn’t merely for die-hards and apologists. This is all brawny guitars, power-pop melodies and unflagging drums. The arena-rocker “Steam of Hercules” is about as ambitious and wandering as there’s time for in 38 minutes that otherwise fly by before you know it.

Mould is touring this year playing Sugar’s heralded “Copper Blue” in its entirety on the album’s 20th anniversary. Maybe the best compliment of “Silver Age” is that the new songs wouldn’t feel out of place in that set.

CHECK THIS TRACK OUT: Is it really old Mould if there’s no moshing? The punky and profane “Silver Age” should do the trick.

(AP)


No slump for Two Door Cinema Club

Two Door Cinema Club
“Beacon”
(Glassnote)

Two Door Cinema Club blasted onto the airwaves in 2010 with its debut “Tourist History.” The group’s wistful and perfectly constructed ditties about youth and love lodged them firmly in the indie set and spread optimism through the hearts of losers and geeks with a positive love song, “Something Good Can Work.”

With its second album “Beacon,” the Northern Ireland trio keeps that flame alive. The band continues its shoe-gazing style but with added twists. There’s an electro spin on some of the tracks, showing the boys are capable of concocting more than guitar riffs, and they’ve gained more swagger since the release of their debut.

Precision is key with Two Door Cinema Club songs and they never miss a beat throughout “Beacon.”

First single “Sleep Alone” pulsates with a steady drumbeat and is melancholic and full of yearning as Alex Trimble sings, “Hold me close/I’ve never been this far from home.” And “Handshake” is interestingly punctuated with an electronic pulse throughout.

The record doesn’t have as many standout songs as “Tourist History,” but still sees the band heading in an interesting indie disco direction and shows they did not slip into the second-album doldrums.

CHECK THIS TRACK OUT: “Next Year” is cleverly constructed, giving vocals, electronics and guitar space to breathe, and is lyrically optimistic. “I’ll be home for next year darling,” they promise.

(AP)