
A.C. Newman Get Guilty Matador, 2009 O n first listen, the only element of Carl Newman's sophomore effort that made any impact was the upsettingly literal sonar blips in "Submarines of Stockholm." (The impact was decidedly negative.) Nothing else — not the wedding pomp of "There Are Maybe Ten or Twelve" or the staccato delivery of "Thunderbolts" or the waves-on-the-coast cymbal crashes of "Prophets" — aroused interest. Newman has a knack for crafting pop songs, but his consistency has become a handicap. If "The Heartbreak Rides" had been [...]