Aubrey

It’d be fascinating to see the CDs sitting around Aubrey’s rehearsal space. Several songs from the Lawrence band’s latest, Honey and the Shame, suggest Style Council records under open guitar cases, a well-loved copy of ELO’s Greatest Hits sitting neglected, an autographed copy of an Of Montreal EP sitting by the sizzle cymbal — stuff from bands that like their pop music sweet and messy. Honey, with 13 songs in 35 minutes and quirky titles like “Machine Gun Honey,” has some of the warning signs of dangerously sticky pop smear. But Aubrey has tapped into what Nick Lowe, 30 years ago, affectionately labeled “Pure Pop for Now People.” Aubrey makes one-minute bits of contemplation (“Becoming Two”) as involving as a four-minute mile (“The Mask You Wear at Noon”) during which the band shifts gears more frequently than a prog-rock epic and still winds up with a tune you whistle. The songs are full of string- and trumpet-driven melodies and atmospheric interludes perfect for Alfie (the old Michael Caine version), but their tunes never wind up sounding dated.