LET’S EAT GRANDMA — ‘I’m All Ears’
THE GOOD: British female teenage synth pop duo Let’s Eat Grandma dodges the sophomore slump on the sweeping “I’m All Ears.”
THE BAD: Nope.
THE NITTY GRITTY: Rosa Walton and Jenny Hollingworth have been friends since nursery school. And at the age most teenagers are thinking about acquiring that all-precious driver’s license, the pair were releasing their first critically acclaimed album, 2016’s “I, Gemini.”
One could say “I’m All Ears” is more mature, but that might do the record a disservice. Change happens quickly during those late teenage years. So now that the ladies are 19, they can’t help but have a more grown-up outlook. Check out the harried swagger carrying “Snakes and Ladders.”
On the whole though, “Ears” remains a stirring, synth-heavy album, moving from pulsating poppers such as “Falling into Me” to more ambitious anthems, such as “Cool & Collected,” seamlessly. It’s all very driven, catchy and, most importantly, English. LEG remain kids too cool to crossover, the American mainstream be damned!
BUY IT?: Yes.

THIEVERY CORPORATION — ‘Treasures from the Temple’
THE GOOD: Washington, D.C., electronic duo Thievery Corporation scratches out a cool companion piece to last year’s “The Temple of I & I.”
THE BAD: ALL of the material isn’t necessarily NEW, but that’s OK.
THE NITTY GRITTY: “Treasures” is a heady combination of remixes, leftovers from the “I & I” sessions and new tracks. The collection leans heavy in reggae and dub, but there are a few bits of Europop and hip-hop, too. It all ends up an unpredictable mix tape capable of standing completely on its own merits, despite being connected to a prior release. This is NOT just a cash grab or disposable “lesser” album.
Guest vocalists include the in-your-face Racquel Jones, nuanced yet commanding Notch, and sultry and smooth-as-butter Lou Lou Ghelichakhani. Political in spots, dreamy in others, “Treasures” goes through more than a few hip-shaking mood swings before its conclusion. But ALL these jams are energetic and powerful in their own specific way. “Treasures” cooks.
BUY IT?: Yep.

THE GOOD: Brooklyn electro-rockers Strange Names avoids the sophomore slump with “Data.”
THE NITTY GRITTY: The self-produced album is an upbeat throwback to the skinny-tie sporting early ’80s. The guys hit that sweet spot where funky electric guitars and switched-on synthesizers co-exist in perfect neon harmony. And of course, everything rides a big, frothy backbeat. Place the band alongside contemporaries such as Yeasayer or vintage Aztec Camera, and neither comparison would be off the mark.
Tracks such as the seamlessly pulsating “People to Go,” the endlessly catchy “Circles” and the delicate, slightly melancholy “Head First” draw us in immediately. “Data” even revolves around a loose concept, the songs written from the perspective of aliens observing us from afar and collecting “data” about our planet. Play close attention, you’ll catch it. But the tunes still work if you ignore their framework.
BUY IT?: Surely. There’s barely an ounce of fat on this record, with 10 would-be singles leaving a feel-good impression in 35 minutes flat.