[ electronic ]

An unpredictable, hard-to-quantify New Yorker with strong sonic ties to the UK bass scene, Drew Lustman downplays his dubstep-derived tics in favor of more overtly jazzy, house-based smoothness on his third LP as FaltyDL. Belying its title but befitting its cheerily colorful cover art, Hardcourage (Ninja Tune) is heavily melodic but light on its feet, sustaining a rosy, twinkling softness even while stepping up the syncopation for subtle twists on glitchy electro and vocal-flecked tech-soul, plus some deep, plush funk that could pass for prime late-’90s chillout. —K. Ross Hoffman

[ country ]

Dale Watson’s new El Rancho Azul (Red House) is all originals rendered by his touring band The Lonestars, so the sound is roadhouse-tight and sassy. Just like the lyrics, which are inspired by wild crowds and apocryphal bar fights at the rancho. Swing dancers will jump up to the rockabilly “Give More Kisses”; belt-buckle polishers will dig “Daughter’s Wedding Song” for its sweet words, Watson’s heartbreaking voice and the equally soft steel and fiddle. Just like the club, El Rancho Azul has all kinds. —Mary Armstrong

[ vocal/movie music ]

Following her tour-de-force a cappella rendering of The Who Sell Out in 2005, L.A. music-biz fixture Petra Haden gets back to the vocal multi-tracking reinterpretation game with Petra Goes to the Movies (Anti), featuring her one-woman choral renderings of film music both iconic (Psycho, Goldfinger, Superman) and otherwise. The novelty factor is obviously high, but this is also carefully crafted, surprisingly affecting music; gorgeously lush, with a wide-ranging emotional potency, although a few rather sudsy “vocal” numbers somewhat diminish the effect. —K. Ross Hoffman

[ country/roots/bluegrass ]

Love a rich, deep country voice? Then John Driskell Hopkins is your man. You might already know him from his bass work with the Zac Brown Band. Daylight (self-released) has some material in common with ZBB, but is even more rootsy, thanks to the bluegrass band Balsam Ridge’s involvement on every track. Resonator guitar heads are going wild over “Runaway Train,” with Jerry Douglas sitting in. Banjo innovator Tony Trischka guests on the title cut. “Nothing” is a ZBB favorite improved by just one singer telling the sad tale and bluegrass urging it along. —Mary Armstrong