Cuter-than-a-button Jenny Lewis gets a little dirty on Rilo Kiley's major-label debut Under the Blacklight, but many of the band"s loyal fans are going to attribute her overt sexuality and Rilo"s polished sound directly to selling out. There are some great songs ("15," "The Angels Hung Around"), but Blacklight feels like an unfocused effort at times, eschewing the solid songwriting of past releases for big hooks and monster choruses that never venture very deep, while stylistically jumping from 80s ready-for-MTV pop to disco-funk to Lilith Fair-sounding rock. Melodically it's a flawless record and Lewis' Neko Case-meets-Edie Brickell voice is in fine form, but hearing her carry on about she's "ready to go" feels a little too calculated considering where they've come from and where it seems they're trying to go. [www.rilokiley.com]

The music is a big part of what makes Once such a great movie. Fans of it will simply have to own the soundtrack, if only to recall the mood of those two raggedy musicians falling in love on the streets of Dublin. The first two songs are brilliant. Glen Hansard's "Falling Slowly" has already been used in two other movies: Feast of Love and Beauty in Trouble. Marketa Irglova's "If You Want Me" is every bit as good. The one misstep is following these two tracks with the off-the-cuff "Broken Hearted Hoover Fixer Sucker Guy." It was delightful in the movie, but would have been better sequenced as a bonus track, since the recording quality is poor. The soundtrack is also essential listening for fans of Hansard's band, The Frames, which Irglova should join as soon as possible. [www.myspace.com]

Unlike the Beastie Boys' DVD Awesome, I Shot That, which passed itself off as the work of fans but in large part professionally shot, Fancy is the real deal. Shot by a select team of fans over six shows on the 2006 tour, it offers an audience perspective on Les Claypool's first solo tour. All the shots are steady and nicely framed with none of the exaggerated amateurism of the Beastie boys film. The audio mixes audience tapes with the soundboard recording, resulting in top quality sound without the sterility of the isolated board—the sound of the audience is always present. Highlights from the shows include Claypool donning a pig mask when on his upright bass, saxophonists Skerik's devil horns and all the old material mixed in with the new. [www.lesclaypool.com]

Call it "Motion City Soundtrack, Version 2." With frontman Justin Pierre starting to kick the old habits that fueled much of the lyrical content of Soundtrack' first two albums, Even If It Kills Me finds the band not only maturing, but also settling into their skin a little more. Musically, the sound hasn't changed too much, with guitars charging, drums booming and their signature synths whirling throughout. Pierre has improved vocally as well, as he stretches his voice away from his normal higher pitches, especially on the touching piano ballad "The Conversation." Not to say that all the fun is lost, as "Calling All Cops" and "Point of Extinction" demonstrate. Even If It Kills Me is the most honest and moving Soundtrack' album to date and worth checking out. [www.motioncitysoundtrack.com]

With clear elements from the latest records by Death Cab for Cutie, Postal Service and The Rosebuds—not to mention textures that wouldn't be the slightest bit out place for Sigur Ros—Belgian quartet The Go Find unapologetically resemble some of the best indie electro-pop of the last decade. Although their sound is by no means original, The Go Find's dreamy, melancholic tone comes to life over shimmering guitars and mellow keyboards, resulting in balladry that effortlessly soothes its way into your ear canal. With a song called "Kid OK," it's obvious where their inspiration comes from, but many a band has taken the Radiohead sonancy and trampled all over it; The Go Find hold it like a baby. [www.thegofind.com]

Let's play a game. Name the band most associated with this collection of words: Canada; layered orchestral textures of guitar, violin, organ and other instruments; church-appropriate chants; marching rhythms; utilization of every square inch of a stage. If you guessed Arcade Fire, and you know you did, come on down. On The Ghost Is Dancing's excellent debut full-length The Darkest Spark, it's Funeral that comes to mind, only less cerebral but more upbeat, and with a touch of some of Pavement's lighter moments. Whereas Funeral was a breakthrough because it was so original and starkly emotional, Spark simply follows the formula, but sounds like a band that's an album away from being the answer to someone else's trivia question. [www.theghostisdancing.com]

The Mother Hips are a rare band to the ilk of My Morning Jacket in that they both have a sound that's equally welcome within many musical circles. Even though six years have passed since their last full-length, they've returned with a tight record that's a welcome hybrid of Matthew Sweet alterna-pop, the jammier side of the aforementioned MMJ, Buffalo Springfield California-rock nostalgia and Elvis Costello melodic sensibility. Even with such a smorgasbord of styles, the Hips never lose sight of songcraft and successfully deliver a comeback that's completely fresh. Then again, good rock and roll is timeless. [www.motherhips.com]

Despite only recently releasing his debut full-length, Cary Brothers is quite well known to the world, whether or not you know his name. Brothers, who received quite a bit of exposure from his "Blue Eyes" contribution to the Garden State soundtrack, unfortunately fails to find similar excitement with Who You Are, a collection of adult-rock tunes destined for VH-1. Brothers comes across like a corn-fed version of U2 similar to other "You Oughta Know" artists like Mat Kearney, Augustana and Daniel Powter, which will more than likely translate into wide-ranging appeal and marketability, but there's equal chance we're looking at a one-hit wonder. [www.carybrothers.com]

Featuring a slew of guest artists has become trendy practice, but more often than not the outcome's sub-par despite the sexy storylines. London-based UNKLE was an originator of the fad, although it seems the sit-ins for their latest release, War Stories, bring with them a little too much of their own influence. Whereas Thom Yorke and Mike D. were able to adapt to the breakbeat feel of past records, Josh Homme's rock edge makes them sound a little too much like Crystal Method and The Cult's Ian Astbury just seems like a bizarre choice, although to his credit he's part of the best tracks. Like all UNKLE albums, War Stories makes for a compelling sell, but it's filled with a plot that fails to deliver any twists, turns, peaks or valleys and amounts to nothing more than great background music. [www.unkle.com]

The cover is a big lightning bolt and the EP, six tracks in all, is a bolt of energy—a loud, crazy, throw yourself into a garage door to see if you can make a whole in it kind of energy. The L.A. duo of Sky Nielson and Myk Agee has an exuberance that can be heard with every note. Some of that exuberance, however, pours over into a grandiosity that's verging on silly. But perhaps silly raucous fun music is what they had in mind. If not, their musical chops need to be chopped more. [www.ohnonotstereo.com]

There's not much that comes out of New Mexico that hits the national consciousness—aliens (extra-terrestrial and the illegal variety), Georgia O'Keefe, hot air balloons—but perhaps Of God and Science can be added to the small list. Their debut album of eight tracks is smart moody underground pop with a bruising alt-country tinge to it. The Albequeque foursome has produced a disk this is startlingly assured for such a young group. [www.myspace.com]

I can't find a lot to really latch onto with The Cribs' offering Men's Needs, Woman's Needs, Whatever; this despite the fact that the Jarman brothers employed Alex Kapranos (Franz Ferdinand) to produce it. In fact, the most interesting thing about it might be that the title of this mediocre album mirrors my own apathy where its contents are concerned. "Be Safe" is a strange rant, trying desperately to be relevant and quirky that just ends up dull and devoid of emotion. "Our Bovine Public" is jerky and annoying, with whiny vocals and garage guitars. The only reason I can see to buy this record is for the radio-ready track "Men's Needs." Basically, I think Edwyn Collins got more out of them. Sorry, Alex. [www.thecribs.com]

"King Kong (Attack of the Egomaniac)" really is more about a monkey than an overbearing boyfriend, meaning Carly Simon can suck it; here's why literal interpretations fucking rule. The beat does too, honestly. While, I wish she was rhyming something other than "vanilla" and "gorilla," I have no qualms with the accusation that said monkey is a "pussy-killer." But keep in mind that partying for a straight hour is hard no matter what the circumstances, and it's even more draining when you're torn between the drink on the table and the slick boys in their dancin' shoes. Maybe some economy courses to go with that charisma, Susie. [myspace.com]

After an near break-up, As Cities Burn returns with their sophomore release through Tooth & Nail Records. While their debut was a loud and often vicious album, Come Now, Sleep finds the band, who are now without their original frontman, covering a lighter side of things—at least comparatively for them. The new sound is more atmospheric and ambient, with more melodic vocals courtesy of Cody Bonnette. The result is a stirring and often beautiful album that should surprise just about everyone. [www.ascitiesburn.com]

It's hard to overlook the recent invasion of "dance" bands into the music scene and the return of some of the 80s glamor along with them. The NYPC definitely steps into the scene with their own blend of dance beats, odd guitars riffs, and somewhat detached vocals. Although at times this blend feels a little disjointed, when it does work, the results are undeniably great. Fantastic Playroom is actually a compilation of songs recorded over the last several years, and is a solid first offering from the band; however, what we are really looking forward to is to see how they follow it up. [www.newyoungponyclub.com]

It's no secret that the last System of a Down record focused heavily on contributions from guitarist and songwriter Daron Malakian and seemed to downplay singer Serj Tankians role in the band. We will never know if that tension is what caused the band to go on hiatus, but after spending some time with Elect the Dead, it becomes clear that Serj has a lot more to offer than perhaps he has been allowed to recently with SOAD. Removed are the majority of over the top silly lyrics and and in their place is a much more cynical, and politically charged tone. However, what remains consistent is the myriad of vocal styles and fast-slow song structure that is interwoven perfectly with catchy choruses and full-on rock out moments. Perhaps what is most impressive are the pianos, strings, and acoustic guitars that make up the backbone of the songs. In the moments where the crunchy guitars and pounding drums are stripped away, you can see how beautiful the music here really is. [www.serjtankian.com]

Many people seem to want Athlete to head one of two ways: release a watered-down, more mainstream version of Tourist or create some avant-garde record that really sets them apart. With Beyond The Neighbourhood they haven't really done either of those things, but what we do get is a very solid mix of electronic elements, guitar, piano, and the soothing melodies the band is well-known for. While the band isn't really breaking any new ground with this record, any Athlete fan should be pleased with the album and hopefully the consistent quality of the songs Athlete has released will attract some new fans as well. [www.athlete.mu]

Although just a folk-based singer/songwriter on the surface, Jesy Fortino, who performs under the moniker Tiny Vipers, packs a punch with her intricate guitar work and somber voice—more worthy of a metal band. It's the slow pace of the record, not speed that makes it such a hypnotic and haunting affair, however. Sounding like an acoustic version of Sub Pop labelmate Low with a hint of Mazzy Star, the way she seems to delicately locate and sparingly pick notes like they're guilty of something is unsettling. The near 11-minute epic "Swastika" might be the most electric track you'll hear all year, and it's almost entirely composed on her acoustic. [www.myspace.com]

A little more Snow Patrol-style indie rock than previously releases would suggest, If You Want Blood is yet another successful recording for Matt Pond PA. The EP isn't just a one trick pony, though, as there are also folky/alt-country tunes to hit with the radio-friendly indie rock of songs like "Reading" and the title track. [www.mattpondpa.com]

If I had to create a biography for Benji Cossa based on Between the Blue and the Green, I'd say he spent the past decade puttering around his home listening to most every American pop record from the '60s and '70s he could find in thrift stores, tinkering with pawn shop instruments and playing in innumerable small-time bands which ultimately went nowhere. The story isn't rare, but Cossa's persistence has paid off well in the artistic sense—his latest record attests to his status as a veritable master of bedroom pop. At times he'll delve into something more rustic, matching his voice to imitate the best of back porch crooners. Other times, he's as sunny as The Boy Least Likely To. The only question is, why does he have less than 3000 plays on Myspace? [www.benjicossa.com]