The Pipettes – “We Are The Pipettes”

Grade: B

For all of their wonderful pop charm, The Pipettes can sound like a cruel bunch.

The British girl group – three singers and a mysterious band known as the Cassettes – have re-released their debut, “We Are The Pipettes,” an entertaining series of blast-from-the-past pop tracks. I just never imagined things being quite as mean-spirited back in the day.

One track is dedicated to telling someone (never any real specifics, of course) “You’re Kisses Are Wasted on Me.”

Later on “One Night Stand,” they tell another guy, “I don’t love you/leave me alone/you’re just a one night stand to me.” Yeesh.

There are a couple of ways to see this. To some extent, the tracks add a feminist bite and activism to how this kind of music used to be played.

But on another level, the album doesn’t seem like one to take really seriously. Looking past the innuendo, your other option is dance, and there’s plenty of choice for that here.

Vocalists Gwenno, Riotbecky and Rosay cooperate well, splitting time between sweet harmonies and solo musings.

The Cassettes impress in varying their musical styles enough to not end up with a repetitive half-hour. Instead we get a catchy mixture of horns, strings and keyboard to go along with a solid rhythm section and jangly, surf-inspired guitar.

Relationships and sex are all over this record, whether in the aptly-titled “Sex” (“Why not get right to the point/It’s not often we are left alone”), “Dirty Mind” or “I Love You” (“I’ve seen you try to laugh at all of my bad jokes/And I’ve cooked you seven meals/Six of them on which you’ve choked”).

Elsewhere, the group deals with the sadder side of things on “It Hurts To See You Dance So Well.” “Judy” reaches back to tales of grade-school friendships.

Nothing breaks musical ground, but there’s not a dull moment all the same.

Nyles Lannon – “Pressure”

Grade: B

The press materials we got with Nyles Lannon’s new album, “Pressure,” says Lannon sounds a lot like the late Elliot Smith.

Well, at least he’s honest.

Lannon fills each of the 11 tracks on “Pressure” with swirling background vocals, creating concerning but pleasing harmonies that sound like – guess who – Smith in his less nervous moments.

Lannon keeps his own voice hushed most of the time, just like – well, you know.

The combination is ultimately inviting, but sometimes overshadowed by Lannon’s rapidly shifting musical styles.

Lannon describes himself as a “folktronic” pioneer, which means the occasional blip or screech makes its way into one of a song’s inner layers (sometimes they’re more prominent, like on “Better With Nothing,” and start to sound like a Death Cab for Cutie song, but that’s OK).

Lannon generally splits his time between acoustic and electric guitar.

“Hesitation” stomps, albeit not too strongly, lest the bass drum overpower.

“Crash Landing” is a surprise, with Lannon channeling his My Bloody Valentine and turning his electric guitar into a fuzzed-out spaceship.

There’s only one really weak moment, “Next Obsession,” which tries to add the subdued “rock” to the album’s subdued “pop,” but the combination doesn’t work.

It’s a small misstep, though. On the whole “Pressure” is easy, and satisfying to get lost in.