Infinity on High

Island

Sounds like: More "Dance, Dance"

Short take: Pop rock doesn't have to suck

Considering that Fall Out Boy's breakthrough hit was called "Dance, Dance," it really should come as no surprise to hear a full-on '80s-influenced dance track on the band's anticipated new album Infinity on High . The track in question is the highly infectious first single, "This Ain't a Scene, It's an Arms Race," which sounds like the crossover hit that singer-guitarist Patrick Stump has dreamed about for over a decade. Then there's the arena-rock sounding "I'm Like a Lawyer With the Way I'm Always Trying to Get You Off (Me & You)," which will have soccer moms humming along. Whereas My Chemical Romance eschewed any follow-up pressure by taking the artsy route, its compadre in emo arms decided to stick to its guns, producing the keen pop songwriting its fans want. John Benson

The Third Hand

XL / Release date: March 6

Sounds like: Instrumental hip-hop meets humdrum pop

Short take: A classic fish-out-of-water failure

RJD2 has sometimes been called the poor man's DJ Shadow, which is both unfair and inaccurate. But the two are similar in that both artists' newest records are grand detours and, similarly, grand duds. RJD2's The Third Hand is just as "What the fuck?"-inducing as Shadow's The Outsider, a big fat flop of good intentions. RJD2's reasons for wanting to go analog to break free of the tedium that is digital music creation are sound, and absolutely more than justified. On his most airtight bangers, there's a sense of frustration with the limitedness of his craft, and, with that, naturally, cause to break free. But c'mon, RJD2, gospel folk? Acoustic shoegaze? Tender hum-alongs? Dumb lyrics? No, that won't do at all. Matt Martin

Come on Like the Fast Lane

Bloodshot

Sounds like: Boring '90s rock

Short take: These Silos are empty

Somewhat belying its alt-country and roots rock past, veteran indie act The Silos wades into more Americana rock waters with its latest effort, Come on Like the Fast Lane. While such a digression, in theory, could be seamless, the problem is that the tunes lack the necessary fire. While "Keeping Score" features a decent guitar groove, the track lumbers on with one lyric after another, beginning with "There is ...," which grows exponentially grating as the song progresses. "Top of the World" kicks with an early '90s grunge vibe but eventually sounds more like a Kurt Cobain parody. Ultimately, The Silos appear unfocused on the forgettable Come on Like the Fast Lane, which leaves the listener stuck behind a Sunday driver without any opportunity to pass. John Benson