Muse, the 21st-century prog-rock adherents, combine the drama of Queen and the politics of Pink Floyd on the concept album Drones (WB). Complete with the pair of skits "Drill Sergeant" and "JFK," Drones makes a statement. The trio isn't afraid to color outsider the hard-rock lines, as they do on the new wave funk of "Dead Inside," the deceptively soothing "Aftermath" and the a cappella title cut. Muse is at its theatrical best on the Queeny "Mercy," the mini-epic "The Globalist" and the blazing "Defector" and "Revolt."
It's the listeners who benefit from the Vaccines' infectious assortment of influences on English Graffiti (Columbia), the Brit quartet's third album. Snotty as they want to be on irresistible opener "Handsome," they strut their funky selves on "Minimal Affection" and go for breathless punk on "20/20" and "Radio Bikini." "(All Afternoon) in Love" is a new kind of hybrid, a break-up song crossed with a love song, and "Undercover" is almost too pretty for its own good. Get vaccinated!
Olivia Chaney may make reference to her "Chelsea mourning" in "Imperfections," but she owes more to Linda Thompson and Sandy Denny than Joni Mitchell on her neo-traditional folk debut album The Longest River (Nonesuch). Chaney combines potent originals "Loose Change," "Swimming in the Longest River," "Too Social" and the gorgeous "Holiday" with the traditional "False Bride" and "There's Not a Swain," an adaptation of a 1693 text by Henry Purcell and Anthony Henley.
At 25, Laura Marling is a music industry vet with five studio albums to her name, the first released when she was just 18. The music on her fifth disc Short Movie (Ribbon) may not be as varied as that of her debut Alas I Cannot Swim , but it succeeds on its own merits. Opener "Warrior" is one of a few songs, including "How Can I" and "I Feel Your Love," that recall vintage acoustic Joni Mitchell. Marling does a brilliant job of conjuring Chrissie Hynde on "Gurdjieff's Daughter" and "Strange." Marling reaffirms her own distinct artistry on the title cut, as well as on "False Hope," "Don't Let Me Bring You Down" and "Divine."
As this year's class of British invaders goes, Glass Animals stands out for its uniqueness on Zaba (Harvest), beginning with the opening track "Flip." With the less-than-subtle suggestion of violence set against a hypnotic and raw melody, the song hooks the listener like an illegal narcotic. The slithery "Black Mambo" has a similar effect. "Pools" provides the first definitive dance beat on the disc, giving you the excuse you need to dive in and shake it. "Gooey" might be the stickiest chill-out number of the year, and "Hazey" is also aptly named, while "WYRD" is as weird as it is wired.
Another in a seemingly endless supply of Simon Cowell's proteges-products, former X-Factor competitor Ella Henderson's hopefully titled album Chapter One (SYCO/Columbia) is a pleasing if undistinguished introduction to the singer/songwriter. Henderson has a powerful set of pipes that she employs to great advantage on the 11 occasionally bombastic tunes, including "Empire," "Rocket" and "Pieces." When she reins it in, as she does on "Missed" and "Mirror Man," she sounds more like herself than like someone trying too hard to be the British Kelly Clarkson or Katy Perry.
Rixton doesn't even bother to disguise its shameless Maroon 5 influence on "Wait on Me," "Appreciated" and "Me and My Broken Heart," from the UK "boy" band's debut album Let the Road (School Boy-Giant Little Man-Mad Love-Interscope). That's too bad, because the a cappella title tune that kicks off the disc shows promise. But that might be where the originality stops, as you can hear on the Bruno Mars rip-off "I Like Girls." A couple of songs, "Hotel Ceiling" and "Speakerphone," provide glimmers of hope for something more. The blame might be less on Rixton than on producer-co-songwriter Benny Blanco, who appears to be incapable of an original thought.