Coming off like an even more ‘60s-inspired version of Matthew Sweet (with just as much excessive vocal overdubbing—there’s a veritable choir of Benson’s all over the place), Benson hits all the right notes on Alternative. Sure there’s an over-reliance on silly rhyming lyrics guaranteed to induce cringes in some listeners, but as any power pop devotee can tell you it’s all about the hooks—not the words—and Alternative’s got plenty that will sink deep into your brain tissue. Particular highlights are the bouncy McCartney-esque toast to aimlessness “What I’m Looking For” and the sassy vitriol of “Spit it Out Now.”

Josh Rouse
Nashville
(Rykodisc, 2005)

Nashville represents a welcome return to form for Rouse after dabbling in some silly genre experimentation on the period piece album 1972. Undoubtedly fueled by the collapse of his marriage, Nashville presents a slick fusion of taut new wave, alternative country and classic singer/songwriter fare. Bouncy electric guitar lines redolent of old Smiths records are paired with luscious pedal steel work throughout and Rouse’s reedy passionate voice has never been in finer fettle. Song titles, such as “My Love Is Gone,” make it clear that Rouse is safely back in melancholyville after the good times party of 1972, and although the widening of his sound represented on that album is still present here (from the bar house stomp of “Why Won’t You Tell Me What” to the orchestral drama of “Streetlights”), this time Rouse isn’t reaching—he’s simply painting his always excellent folk-pop songs with a broader palette of colors.