THE FRAMES -- BURN THE MAPS

I like Ireland. Really, I do. I also appreciate what the country turns out musically (i.e. The Pogues, Stiff Little Fingers). The Frames is definitely one of the country's more interesting products. Considering the fact that these gentlemen are platinum-selling artists in Ireland, I was a bit taken aback by the fact that I had never experienced them. I can therefore only commend the ANTI- label for bringing exceptional European bands to the masses in America. The Frames show flashes of experimental brilliance with their most recent album, Burn the Maps. I'm not familiar with their catalog, but I have gained an overall comprehension of the musical path they are treading. Subtly melodic, intricate guitar work. Droning, mesmerizing vocals, beautifully backed by a small orchestra. One of the truly awesome things about this band, however, is that they don't limit themselves to a niche. The song "Sideways" fits in exactly with the aforementioned description, but the following tune, "Underglass," is a loud Rock anthem. The Frames have the ability to flow from thunderous to desperately quiet with ease. In my initial listen, I barely made it all the way through. It just could not hold my wandering attention span. My appreciation grows, however, with each subsequent listen, as I discover new and unique nuances such as the amazing crescendo on "Keepsake," the perfect use of slide guitar throughout the album and the awesome use of the orchestral instruments. As trite as this might sound, Burn the Maps is one of those albums that takes a few solid listens before you can take it all in. Thank you, Ireland. (Kevin Warwick) Grade: B+

CROOKED FINGERS -- DIGNITY AND SHAME

· CROOKED FINGERS -- DIGNITY AND SHAME (MERGE)

On their fourth release, Dignity and Shame, Crooked Fingers' traditional Pop group instrumentation of guitar/bass/drum is augmented by little more than occasional trumpet and dreamy piano. Yet the music proudly defies direct musical comparisons and instead brings to mind vivid imagery and hallucinatory heat-stroke visions. The opening instrumental, "Islero," is a prime example, unfurling like a Spaghetti Western in a teenage medicine head's fever dream of bright oranges, brick reds and blazing sun on a sweat-soaked brow. A far cry from the strum and clang of his days with Archers of Loaf, here Eric Bachmann salutes the waning beauty of a desert sunset with a wistful sigh. With a compelling, conversational vocal style, he finds redemption in his surrender to the inevitable. A nasal rasp not unlike mid-'70s Dylan, Bachmann's vocals convey a melancholy strength and proud resignation to life's hard lessons and lost love. Most of the record is rooted in nylon-stringed acoustic guitar, but the proceedings occasionally get quite raucous. "Coldways" works itself into a distorted frenzy, before the whole swirly squall finally collapses under its own mounting tension. But Dignity and Shame is not without its simple Pop tunes -- catchy little confections like "Call to Love" and "Valarie" will have you tapping your foot and singing along upon first listen. Man, I like this one a LOT. (Ric Hickey) Grade: A

NICOLAI DUNGER -- THIS CLOUD IS LEARNING

· NICOLAI DUNGER -- THIS CLOUD IS LEARNING (OVERCOAT)

Back in the mid-'90s, Swedish soccer star Nicolai Dunger decided he'd had his fill of professional sports. Amazingly, he fell into a professional music career after being discovered playing guitar on his balcony. He quickly put out two albums, neither of which satisfied Dunger creatively and which almost forced him out of music. In 1998, he bumped into Soundtrack of Our Lives guitarist Ebbot Lundberg who offered him the chance to record at the band's studio space without pressure. Together, Dunger and Lundberg (along with various members of SOOL) created the sparse Pop wonder of Dunger's third album, This Cloud is Learning, which went on to become a huge hit in Sweden. For indistinct reasons, Cloud has never been released in the U.S. (while a number of Dunger's subsequent six albums have been) and it's hard to see why. He blends the populist appeal of Dave Matthews and John Mayer, the soulful embrace of Van Morrison, the quirk factor of Jonathan Richman and the melancholy whisper of Chris Whitley into one odd musical package. Weirdly cool. (Brian Baker) Grade: B+

THE WATUSI TRIBE -- F.I.S.T. (FIRST INSTALLMENT OF SOULFUL TONES)

· THE WATUSI TRIBE -- F.I.S.T. (FIRST INSTALLMENT OF SOULFUL TONES) (RA RA ENTERTAINMENT)

Some would say it was predestined that I would walk into Everybody's Records in Pleasant Ridge at about the same instant that Watusi Tribe's Vibe One was dropping off copies of their hot-off-the-press, long-awaited album, F.I.S.T. (First Installment of Soulful Tones). Having already heard two demo versions, I was pleased to finally see (and hear) the completed package, which includes the harmonious, downtempo "Sum Ov This," the Dirrrty South-influenced "NEWS" and the jolting title track, on which Moses, X-Man and Vibe One promulgate Watusi's undeniably socially-conscious stance over an obscure kung fu movie rift. Somehow, Watusi even managed to weave a message into the crowd pleaser "(Watusi) Jump On It," which features Sugarhill Gang's easily recognizable "Apache" sample. The album includes several of the group's live performance standards such as "Kold Krush," "Soul N Motion" and "5 Arch'z," reminding listeners and fans that F.I.S.T. -- as enjoyable as it is to listen to -- represents only one part of the complete Watusi Tribe experience. Knuckle up. (Kevin Britton) Grade: A