Gordon Lightfoot Book, Music and More!

The members of Hamilton, Ont.’s The Marble Index wear their Clash influences proudly on their ripped sleeves. The mod-rock trio even recruited Scott Shields, who worked with Clash frontman Joe Strummer’s Mescaleros, for its sophomore release. And just as The Clash dabbled in dub, Brad Germain and the boys utilize reggae’s one-drop rhythm on the new album’s tracks like “Let Me Be the One.” While some songs like “Same Schools” sound suspiciously Stroke-ish, most of the album boasts a fresh, feisty edge. June 13

On its excellent debut album, Decent Days and Nights, England’s Futureheads rivaled Scotland’s Franz Ferdinand for twitching, thrashing, just-can’t-stop dance-pop. The Yorkshire band’s followup is a more ambitious and measured affair. Although “Return of the Berserker” is undeniably frenetic, mid-tempo songs like the joyful “Skip to the End,” the choral-laced “Worry About it Later” and the touching title track, about Manchester United’s 1958 Munich air disaster, tackle mature, refreshingly thoughtful topics. June 13   

Like Matt Damon in The Talented Mr. Ripley, Daryl Palumbo is a master of reinvention. With his previous band, Glassjaw, the New York singer channeled Perry Farrell of Jane’s Addiction for an alt-metal pose. On Head Automatica’s first album, he imitated Duran Duran’s Simon LeBon for some dance-rock posturing. Now, Palumbo is mining the power-pop sounds of Elvis Costello and Nick Lowe. While songs like “Graduation Day” and “Lying Through Your Teeth” pack a punch, it all feels too calculated, even deceitful. June 6

Before Björk, there was no female pop star as mystifying and yet mesmerizing as this singular British artist. This 90-minute documentary features rare interviews with Bush, stellar videos, from “Wuthering Heights” and the superb “Cloudbusting” to the recent “King of the Mountain,” commentary from critics and a skill-testing interactive quiz. Those seeking deeper insights into this enigmatic artist may be disappointed, but love hounds seeking an audio-visual fix of all things Kate should prepare to be Bushwhacked. June 6

Her Pips have peaked, but the veteran Knight soldiers on with songs associated with her musical heroines. Produced by Tommy LiPuma (Diana Krall) and Phil Ramone (Ray Charles), this classy collection features the former Motown vocalist applying her elegant pipes to Lena Horne’s “Stormy Weather,” Dinah Washington’s “This Bitter Earth” and Mahalia Jackson’s “Come Sunday.” Although Knight never met Billie Holiday, her soulful takes on “The Man I Love” and “God Bless the Child” do even Lady Day proud. June 6          

She’s one of Canada’s most diverse artists, a singer, poet, actress and erstwhile circus performer (Cirque du Soleil’s 2003 erotic cabaret Zumanity). So it’s no surprise that Starr’s fourth release, her most commercial to date, should run the gamut from blues and rock to her “hippie hop” brand of provocative urban music. The edgy “Step Back” and the flowing “Rock the Boat” are stirring missives from the racial and sexual battlefields, while “La Le Lala” is breezy pop and the title track a sexy rocker worthy of Liz Phair.  

It’s a long way from the dream-pop of her band Stars and its signature song “Your Ex-Lover is Dead.” But Millan, leaning more to twang than the torch of labelmate Feist, has clearly been aching to croon some lonesome country tunes. Her long-awaited solo debut, featuring bluegrass musicians Dan and Jenny Whiteley and members of Broken Social Scene, is full of plaintive songs like “Come Home Loaded Roadie,” “Pour Me Up Another” and “He Brings Out the Whiskey in Me” about love, loss and, yup, the bottle.

Blake Hazard and John Dragonetti are capitalizing on their failed and renewed romance. The Boston couple broke up but made a pact to stay together musically. Heading to Los Angeles, they got married anyway and landed a record deal as The Submarines. Their debut details their whole bittersweet tale, from the opening “Peace and Hate” and the mixed emotions of “Brighter Discontent” to the hopeful “Darkest Things.” Best is the driving “Modern Inventions,” but the entire album will appeal to fans of lush indie-pop.

Best known in South America as a comedic TV actress, Argentinean-born Molina is also a singer who’s been compared to Björk and “Lisa Germano fronting a muted Stereolab.” The latter description isn’t far off, since Molina mixes delicate folk with percolating electronica to create infectious, dream-like music. Although the songs on her fourth album, including “Río Seco,” “Yo No” and “La Verdad,” are all sung in Spanish, they’re highly hypnotic, with animal noises and other wondrous sounds, and need no translation.

She’s the latest thrush to join Sarah Harmer and Kathleen Edwards in the ranks of top Canadian songbirds. Although McClelland gets helps from Sarah McLachlan, Greg Keelor and Justin Rutledge on her second label album, it’s her rich, colorful vocals and quirky music—dubbed “pop noire”—that really steal the show. Standout tracks like the funky “Passenger 24,” the swampy gospel “Go Down Matthew” and the country-tinged “Come Home Suzi” are off-kilter story songs, full of eccentric, memorable characters.