Billboard album reviews: Kelis, Lamb of God

NEW YORK (Billboard) - Kelis' wonderfully whimsical fourth effort "Kelis was here" is a lecture in nonconformity, thick with dynamic instrumentation (hard drums, hammering bass, twinkling keys) like lead single "Bossy."

The album's finest production moments are its offbeat ones, from the brilliant opera vocals in "Like You" to the drum/guitar riffs in "Til the Wheels Fall Off." Even with the hefty beats, the songwriting is surprisingly multilayered.

Tracks like "Handful" and "Circus" find the alto singer once again rapping, as the latter likens the industry to a spectacle "where we all wear masks/Lie to our fans and expect it to last." Elsewhere are saucy "Milkshake"-esque cuts ("What's That Right There") and wistful ballads ("Lil Star"). The 18-track set wears down near the end, but those wondering how Kelis can top the Neptunes-constructed "Tasty" need not fret.

ARTIST: LAMB OF GOD

ALBUM: SACRAMENT (EPIC RECORDS)

Lamb of God did everything a metal band is supposed to do on "Sacrament." It created imaginative, thrash-rooted song structures ("Redneck"). The musicians executed their parts flawlessly ("Pathetic"), delivered a track that stands as the record's calling card (the throbbing, righteous "Descending") and an anthem fit for the arena ("Again We Rise"). So why is "Sacrament" curiously flat and lifeless? Perhaps the problem lies in perfectionism: Lamb of God is so technically proficient, it wrings the notes dry. Plus, the production adds little overall texture. We hate knocking an act that is rightfully winning a spotlight in the overcrowded metal scene, but the band's talent set expectations incredibly high. Still, "Sacrament" likely won't disappoint fans, and Lamb of God has a record to be proud of.

ARTIST: ALLISON

ALBUM: ALLISON (SONY BMG)

You know times are a-changin' in Latin music when you hear Allison. The Mexican rock trio, led by singer/guitarist Erik Allison, has climbed to No. 1 on the Mexican sales chart with music that sounds like a Spanish Blink-182 -- stuff that has very seldom climbed to the top of anything Latin, much less via a debut album. Allison doesn't bring anything new to the table, but its songs are catchy to an extreme, especially "Perdido," which surely will evoke visions of Green Day. This is happy punk about youthful affairs, but it's also full of attitude and plenty of crunching guitars. Even the handful of power ballads ("Aqui," "Mi Destino") never lose the distinctive driving tension or edge. Allison is fun. Enjoy the ride.

ARTIST: PAJO

ALBUM: 1968 (DRAG CITY)

Indie vet David Pajo returns with yet another subtle effort, every song tinged with mystery and a secret. Combining traditional folk styles and structures with wistful production qualities, Pajo tops off each track with his pastoral voice and fateful lyrics. While murder ("Wrong Turn"), life ("I've Just Restored My Will to Live Again"), death (opener "Who's That Knocking") and love ("Cyclone Eye") are the most common inspirations, each shines with what they don't say more than what they do. His simple vocals widen the gaps between each note, and even the sunniest songs seem heavy with sad memories. The electric guitar-heavy "Foolish Man" and "We Get Along, Mostly" are shots of adrenaline in what is mostly a lethargic mix. While not a completely lovable effort, "1968" extends Pajo's varied lineage.

ARTIST: RICHARD BONA

ALBUM: TIKI (DECCA)

Cameroon native Bona has been referred to as "the African Sting" by music journalists, and it's a useful comparison, considering Bona's hip and distinctive take on pop music. "Tiki" finds him at his best. He's an adept bassist with a laid-back vocal style that's terribly appealing, and his sound is often sophisticated rock, as on "Please Don't Stop." His West African roots add rhythmic and melodic nuances to "Ida Bato," while a jazz-wise sensibility informs his cover of Jaco Pastorius' "Three Women" and the ballad "Esoka Bulu." He's also capable of ranging far enough afield to explore Brazilian samba and the Caribbean Afro-Cuban vibe on "Manyaka O Brazil" and "Akwa Samba Yaya." A musical map of the world.

ARTIST: AMY MILLAN

ALBUM: HONEY FROM THE TOMBS (ARTS & CRAFTS)

Following in the footsteps of Jenny Lewis and Neko Case, Stars/Broken Social Scene vocalist Amy Millan makes her solo debut on the folk-inspired "Honey From the Tombs." Millan's sugary-sweet voice takes on a more hushed and melancholy tone as she sings of heartache and drowning her tears in a glass of whiskey. With help from Crazy Strings and her BSS mates, the amplified "Skinny Boy," the

Liz Phair-ish "Headsfull" and the bass-and-horn-heavy "Wayward and Parliament" are the album's best moments. Acoustic numbers like "Losing You" and "Baby I" find Millan's breathy vocals at their most intimate, conveying a powerful sense of longing. The rest of the acoustic and twangy bluegrass tunes are somewhat lacking in variety, but "Honey" is a commendable first effort from an artist whose lush vocals are a treat for the ears no matter the genre.

Reuters/Billboard