Starting out equal, one musician races ahead

Heather Duby and John Roderick are two talented local musicians living on the outskirts of mainstream rock. Neither seem interested in following trite patterns, and both release new full-lengths this week. One fares much better than the other.

Let's start with the one that shows artistic growth. Duby stretches herself, pushing out brutally honest lyrics (or, at least, lyrics that sound brutally honest) that can only come from a tortured artist (or, at least, an artist pretending to be tortured).

Singers often call their first albums after themselves — "eponymous," as music writers love to say. Yet Duby has released two previous full-lengths: "Post to Wire" and "Come Across the River." Now comes "Heather Duby." Is that a hint as to how personal it is, or what?

In any case, Duby is back under the guidance of the adroit producer Steve Fisk, who did her "Post to Wire," back when she was on Sub Pop. That turned out to be a bad label marriage, and now Duby is on Seattle's small-but-spunky Sonic Boom Recordings, home to IQU, Rotten Apples, United State of Electronica and a few others.

Like "Post to Wire," the new Duby is a down-tempo, electronic-groovefest. This is a welcome return, as she experimented with a more rocked-out sound a few years ago, and Duby over loops proves far more satisfying than Duby over squealing guitars and big drums. The low-key, just-right drums here come from Minus the Bear's Erin Tate, who adds lean muscle to Fisk's airy production and Duby's inviting voice.

The invitations here border on devilishly disingenuous: The soothing vocal notes pull you in, then you realize it's not a gentle ride, but a downward spiral.

Duby's new album is a creepy, spooky trip through a wounded psyche; her pretty voice running counterpoint to the pained lyrics. At times this sounds like an indie/electro version of "Jagged Little Pill," though there are touches of optimism.

On album-starter "Never Even Made a Voyage," Duby takes on several different voices/speeds/pitches as she demands: "How can you sit and watch this?"

Like a gutter-surfing Tori Amos, Duby on "Wrestle and Cuss" tears at her inners: "Take it, take heart / you are just another something I should not start."

Jittery, minimalist guitar flavors "Still Rough," while self doubt and inner conflict reign on the questioning songs "Dullard, or Are You a Breakfast Alcoholic?" and "Utterly Clear."

The "hidden track" is a tantalizingly slowed-down version of Pat Benatar's "Love is a Battlefield." Where Benatar was the defiant warrior-general, Duby sounds like a wounded foot soldier.

Duby has a CD-release show 7:30 p.m. Wednesday at the Triple Door ($10). It's also her birthday.

A self-challenging, career-progressing album — what better present can an artist give herself?

• Roderick, by contrast, doesn't seem to move forward with the new Long Winters album, "Putting the Days to Bed." After his 2003 album, "When I Pretend to Fall," one reviewer dubbed him "Bob Dylan in a hoodie" — and he has a hard time living up to indie-press acclaim over the previous Long Winters album.

Perhaps he got a little lazy, didn't challenge himself enough. Perhaps no longer having Harvey Danger singer Sean Nelson on his team somehow takes away from his sound. Perhaps he's gone too comfortable with a certain style of pop-folk. Perhaps expectations are too high, based on his previous stuff ... .

Whatever the reason, "Putting the Days to Bed" simply is not his strongest work.

"When I Pretend to Fall" was much more striking, with a few minor pop gems: "Stupid," "Cinnamon," "Prom Night at Hater High."

"Putting the Days to Bed" is easy to listen to. Perhaps too easy — sleepy love/angst/broken romances songs without much urgency.

Still, there are tantalizing flashes of Roderick's smart, fresh writing, such as his deft phrasing "tall orders from such small shoulders" ("Hindsight"). "(It's a) Departure" is an interesting tune, with a rocked-out opening, melding into Beatles-influenced pop.

Too much is devolution, such as "Seven" with the tiresome, repeated chorus "I miss you Seven." Oh well. Roderick and his Long Winters band play 8 p.m. Saturday at Neumos ($15).

• Traveling troubadour Laura Veirs does a hometown show 9 p.m. Thursday at the Tractor Tavern ($12) ... and then returns to Europe in August.

Check out her amusing worldwide ratings (Best Bean Burgers: Birmingham. Best Police High-Butt Pant Action: Milano) in the News section of www.lauraveirs.com.

• Another striking Seattle talent, Jesse Sykes — Barsuk labelmate of the Long Winters — brings her Sweet Hereafter backing band to Ballard's Sunset at 9 tonight ($10).

Tom Scanlon: tscanlon@seattletimes.com