SOUND CHECK.

SPOTLIGHT ON ... k.d. lang/``Invincible Summer'' (Warner Bros.)

The gal who once made a career out of torch 'n' twang has fashioned an album of buoyant pop that aims to capture the sun-kissed vibe of the Beach Boys, the Mamas & the Papas and bossa nova. ``Invincible Summer'' certainly succeeds in establishing a breezy tone, even if a few of the album's 11 songs are so light as to be almost inconsequential. Lang mixes modern-day, electronic flourishes with these bright melodies, creating a batch of love songs that celebrate a summery state of mind. ``In a crazy world of lemons, you're my lemonade,'' she sings on ``It's Happening With You,'' and that sentiment pretty well sums up the disc's tone. There's not much room for any craving, constant or otherwise, here; everyone sounds too knocked out from the heat. It's best then not to think too much while listening to ``Summer,'' just relax, enjoy an iced drink and let these gentle cotton-candy harmonies wash over you.

- Glenn Whipp

Richard Ashcroft/``Alone With Everybody'' (Virgin)

The Verve's gorgeous string-laden 1997 single, ``Bitter Sweet Symphony,'' brought Ashcroft, the London dream-pop band's singer-songwriter, to prominence. Unfortunately, the Verve was almost history by that point and disbanded a year later. Now comes Ashcroft's predictably overproduced solo effort, starring high-priced session players, strings, harps and brass sections, and a collection of positively underwhelming songs. Although Ashcroft always had grand ambitions, this set is merely ponderous. Take, for example, ``Money to Burn,'' a song that in the Verve's hands could have been an album highlight. Here, as brass and synthesizer parts swirl, Ashcroft seems lost in a whirlpool of neo-psychedelic sound. Next time, Richard, just give us the demos. Two stars

- Fred Shuster

Brian Wilson/``Live at the Roxy Theatre'' (BriMel)

Beach Boys founder Wilson revealed a sense of humor at his recent solo shows at the Roxy by covering ``Brian Wilson,'' the good-natured Barenaked Ladies song that references the sand box Wilson once placed beneath his piano so he could dig his toes in the sand for inspiration. This marvelous two-disc set, available only on Wilson's Web site (www.brianwilson.com), is a wonderful memento of those delirious West Hollywood dates, where a perfectly in-tune and in-the-moment Wilson was backed by ace musicians from the Wondermints, among others. The highlights here are many: terrific versions of ``In My Room,'' ``Surfer Girl,'' ``Pet Sounds,'' ``God Only Knows,'' ``Caroline No'' and an especially rocking ``Good Vibrations,'' never among the easiest tunes to duplicate well. ``Live at the Roxy Theatre'' is a delightful warm-up to Wilson's much-anticipated symphonic ``Pet Sounds'' show at the Hollywood Bowl in September. Three and one half stars

- F.S.

DJ Krush/``Code4109'' (Red Ink)

One long, slow mix of grooves, pulling bits and samples from contributors such as Eminem, Esthero, DJ Fashion, Jazzanova, Beats International, church chants and jazz saxman John Klemmer. It's all quite atmospheric and laid back, though enough is going on to actually demand attention sometimes. Some stuff is merely annoying, or disposable, but much else quite enjoyable. Because the result depends on quality of the samples, the result is often good though not fundamental turntable work. Two and one half stars

- David Bloom

Grandaddy/``The Sophtware Slump'' (V2/BMG)

This mesmerizing Modesto quintet sounds something like Neil Young and sells out gigs throughout Europe. Its new album, a cohesive musical vision apparently inspired by banks of cast-off computer components dumped in San Joaquin Valley thrift shops, will remind some listeners of Radiohead as well as the Flaming Lips, whose singer Grandaddy's Jason Lytle also resembles. Along with well-crafted material like the slightly mysterious but highly melodic opening cut, ``He's Simple, He's Dumb, He's the Pilot,'' the most striking element here is Lytle's fragile voice, which pokes through the band's sonic haze like a sturdy flower through concrete. Three and one half stars

- F.S.

Soundtrack/``Groove'' (Kinetic/Reprise)

This techno-fueled companion to Greg Harrison's movie set at a San Francisco rave features such luminaries as John Digweed, Orbital, Hybrid and DJ Taylor in one of the most joyous, purely exhilarating soundtracks of the year. Compiled and mixed by Wade Hampton (DJ Wish FM), the collection perfectly captures the vibrancy and excitement of the dance subculture, spanning such musical genres as ambient, house and drum 'n' bass. What the ``Trainspotting'' album did for Underworld's ``Born Slippy,'' the ``Groove'' disc may do for Bedrock's ecstatic ``Heaven Scent,'' an instant standout here. Three stars

- F.S.

Steve Turre/``In the Spur of the Moment'' (Telarc)

Accomplished jazz trombonist Turre plays with three different quartets on this wonderful album, each accenting a different facet of his playing. In the blues section, Ray Charles makes a rare backing guest appearance as a pianist on four choice cuts, including an inspired Turre original, ``Ray's Collard Greens.'' Three ``modern and modal'' selections feature pianist Stephen Scott along with Jack DeJohnette on drums and bassist Buster Williams. The album concludes strongly with dynamic pianist Chucho Valdes accompanying Turre on three Afro-Cuban originals (two by the leader, one by Valdes). Turre's versatility is nothing short of astounding, with each section of the album standing as an impressive musical feat. One of the year's best. Three and one half stars

- G.W.

Soundtrack/``The Perfect Storm'' (Sony)

Oscar-winning ``Titanic'' composer James Horner again evokes the power of the sea in this churning, dramatic orchestral score to ``The Perfect Storm,'' which opens today. Despite the stormy atmosphere, there's nothing damp about Horner's music, which moves from turbulence to calm and back again before the film's John Mellencamp-sung end-title theme, ``Yours Forever,'' rolls around. Three stars

- F.S.

Nusrat Fateh Ali Khan & Party/``Dust to Gold'' (Real World)

Real World unearthed this aptly named disc of four praise songs recorded in Lahore, Pakistan, a few weeks before the great Khan's painfully premature 1997 death. The vast man mountain of qawwali music, Khan dominated his art with intensely rhythmic and trance-inducing devotionals that move easily from classical forms to more modern ones. Here, with his full group backing him, he wails gorgeously over tabla, harmonium and chorus in his own compositions that each last more than a quarter hour. The liner notes hold some promise that more of his work may yet come to light. If not, this a fine reminder of all that was amazing about his work. Four stars

- D.B.

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Photo:

(1) no caption (k.d. lang)

(2 -- 5) no caption (CD covers)