Mick Harvey's fourth solo release is much like Nick Cave's The Good Son - both are infernal cocktail-music machines, paving the road to Hell with sad and desperate ballads. Interestingly, only two of the selections are original, yet the album still manages to have a sense of unity that makes authorship irrelevant. "Sad Dark Eyes," although written by 1960's Australian group The Loved Ones, was performed frequently by the Bad Seeds. Alongside this we find a slow, brooding version of Elmer Bernstein's title song from the film Walk on the Wild Side that would have made a fitting overture to that CD's "Mercy Seat." Two of Diamonds plays like an autobiography of influences, not only for Harvey, but for Cave and the rest of the Bad Seeds as well. [www.mickharvey.com]

Not since Halloween 2000's release, Sovereign, have Neurosis sounded so angry, driven, and focused all at the same time. This may be their most sonically diverse offering as well, this listening experience being replete with texture both from analog keyboards as well as distortion and effects-laden guitars. The feel is haunting and harkens back upon their apocalyptically-tinged 20th century releases Enemy of the Sun and Through Silver In Blood. In today's uncertain and fear-riddled climate, this sound is eerily familiar. [www.neurotrecordings.com]

After losing former member Casey Crescenzo (who went off to form The Dear Hunter in 2005), many were unsure what to expect from this Massachusetts post-hardcore outfit. Upon listening to The Earth Sings Mi Fa Mi, it is clear that the band is intent to continue with their thought provoking, hard hitting musical stylings. The Earth is a strong release, featuring a sonic wall that hits you hard and rarely lets up, as the soaring vocals suck you into the chilling narrative. Truly a success. [thereceivingendofsirens.com]

Influenced by classic Motown and R&B, Amy Winehouse delivers her lines on Back to Black with as much credibility as anyone from that era, though it doesn’t hurt that she’s backed by producers and a band who help her pull it off. Slinging lyrics like “He left no time to regret/ Kept his dick wet” with her vintage iron voice, Winehouse sells the image of a sad, sultry chanteuse perfectly; only you know somehow she’s not acting. [www.amywinehouse.com]

Art in Manila’s Set the Woods on Fire successfully channels elements of Wilco, Elliott Smith and U2 through tight, layered verses and inescapable two-and-four chord choruses. With frontwoman Orenda Fink functioning more as part of the ensemble rather than as a solo instrument, it’s an easily digested record. It’s also not without soul, however, as is evident on “Anything You Love,” a desert-flamenco gem that recalls “House of the Rising Sun” if it were set in Omaha. [www.myspace.com]

Moody and self aware, Cinematographic, the third release from The Junior Varsity, is an almost complete departure from their previous works, which focused more on a steady diet of pop-punk and hooks. This time around, the band manages to still rock while downplaying the popiness. This may be a difficult one to swallow for older fans, but its definitely a bold and artistic move worth hearing. [www.myspace.com]

Maturity is not only the underlying theme of Direction, the major label debut from The Starting Line, it's also an obvious motif throughout the album, and part of what makes this release so successful. Direction takes everything that was so good about the band's first two albums and improves upon it (vocalist/bassist Kenny Vasoli actually throws in a nod to their debut on "Somebody's Gonna Miss Us"), with songs like the title track and the fantastic "Island," taking the familiar TSL formula and making it bigger and smarter. This should be everything TSL fans were waiting for; and for the band, it's without a doubt they're heading in the perfect direction. [www.thestartinglinerock.com]

There's No 666 In Outer Space is already one of the more memorable albums of 2007. To make something so complex and full of instrumentation, time changes, constant-solo-like drumming, and just general over-the-topness sound so damn catchy is a rare achievement. To say this is prog for the 21st century is almost an understatement, as the band play circles around their 20th century counterparts in most cases. [www.hellaband.com]

Anonymous is the third, and arguably the best, Tomahawk album to date. Written by guitar stalwart Duane Denison (ex-Jesus Lizard, now U.S.S.A.) primarily, it is a tasteful re-creation of little-known Native American songs and anthems that will sound both strange and familiar at the same time. Mike Patton's involvement is more interesting this time around, and the influence to be had from the more cinematic moments of Fantomas and Peeping Tom (and countless other projects) has finally come to fruition. In fact, this may be the closest thing to Mr. Bungle Patton has done since California. The rhythms are more dynamic and much more complex than on previous efforts from this supergroup (Kevin Rutmanis' departure has Denison playing both guitar and bass), giving John Stanier time to shine. In fact, this album almost sounds like a Secret Cheifs 3 disc in that it celebrates and updates the music of a distinctive culture. [www.ipecac.com]

Although a lot of This Is Me Smiling's self-titled album is about miscommunication, their musical vocabulary is a little too shaky to top the charts. It's not just the transitions between songs (like the harsh cut-off of "Ephemera" biting into the sweet summer of "Feelin' the Time Pass By"), but the transitions within songs themselves; these are tracks that can't settle for a single sound. The instrumentals that strum to nowhere and the interruptive techno sections (the accurately titled "Up In All Directions") disguise how lost the album is. It's an aggressively coy blend of tunes tethered together with poor lyrics, but certain tracks, like "Mixing up Adjectives," manage to speed through the weaknesses, and some pieces, like the folk duet "Say What You're Gonna Say," are transcendentally beautiful. Dan Duszynski and Sheldon Miller have wonderful voices (and can both play the guitar and keyboard), and when they don't drown themselves out ("For When You Don't Hear It Right"), they'll do just fine. Until then, they're stuck being the awkward, attractive little flaws they sing about in their perfect closing, "Alive in the Chase." [www.myspace.com]

From the moment that Songs for the Deaf was released it seems that Queens of the Stone Age were screwed. Every single bit of newly recorded material from that point on would then be compared to that golden beacon of melody, aggression and conceptual output without ever allowing it to simply stand on its own. Lullabies to Paralyze seemed like a departure for the band and their natural growth based on the first three records, despite Josh Homme still being the man behind the boards. So what of the bands latest, Era Vulgaris? As one could expect it seems that the band is continuing to explore new aural territory while keeping their same base palette of sounds at hand. Where Lullabies explored the more dirge / droning aspect of the band Era Vulgaris looks towards mixing disparate elements into a pop sound. Leadoff track "Turnin' on the Screw" embodies this with the scratched out guitar sound, harmonies vocals, and hypnotizing build up. More examples of this can be found in "3's & 7's" and the languid sounds of "Suture Up Your Future." But don't let the word "pop" fool you - this is still a Queens of the Stone Age record complete with its desert sound. More to the point, the album is obviously a sign that the players are more comfortable with each other, have less to prove and are content to create whatever sounds they find the most interesting to combine rather than whatever preconceived notions others expect of them. As the cover art depicts, the Era of Vulgarity can be as simple as two cartoon light bulbs hanging out and having a smoke. [www.qotsa.com]

If you have some spare time on your hands and you're up for some analyzing, you can sit down with the liner notes to Tori Amos' latest album, American Doll Posse. Grab some wine while you're at it—actually, make that a lot of wine, and some gin as well—so you can drink up while you learn about the five "different" women who make up The Posse, all of whom are actually Amos in a wig with a funny pseudonym like Santa or Pip. Fortunately, if you'd rather skip the notes and enjoy the music, Posse delivers the goods to do just that. After the adult contemporary sounding, mid-tempo blur that was 2005's The Beekeeper, Amos returns to a more energetic, angrier sonic space for Posse. The album starts off with one of Amos' least subtle numbers, "Yo, George" in which she sings "I salute to you Commander/ and I sneeze/ 'cause I have now an allergy/ to your policies it seems." First single "Big Wheel" is a thumping rock number that makes ironic use of slightly gross pop culture acronym M.I.L.F. Likewise, "Teenage Hustling" is likely to get the feet stompin' and the blood pumpin'. "Bouncing Off Clouds" and "Secret Spell" are a testament to Amos' ability to write a catchy, accessible pop melody in spite of her more difficult, sometimes pretentious, lyrical tendencies. Totaling eighty minutes, Posse manages to switch from one musical genre to another: radio-ready pop ("Bouncing Off Clouds," "Secret Spell," "Girl Disappearing"), glam rock ("Body and Soul," "Teenage Hustling"), dirty alternative ("Big Wheel," "You Can Bring Your Dog"), powerful ballads ("Digital Ghost," "Beauty of Speed"), and quirky avant-garde ditties ("Programmable Soda," "Fat Slut," "Velvet Revolution"). So diverse is the record that it almost seems to lack cohesion. But that may have been Amos's intent, having created four alter egos (in addition to familiar ol' Tori) as part of this project. Whatever your preference, it must be said that any mix of songs of this quality, cohesive or not, beats the mushy studio gloss of The Beekeeper and parts of Scarlet's Walk. The concept record, when done correctly (see Aimee Mann's The Forgotten Arm), is an especially exciting experience. But sometimes a concept just isn't necessary. American Doll Posse works well without the wigs, so set aside a chunk of time, press play, and enjoy Ms. Amos, all five of her, because she's back in an electrifying way. [www.toriamos.com]

Leslie Feist begins her third album with a melodic steal from Beth Gibbons set in a Corinne Bailey Rae groove. Track by track, it has the sound of something recycled through the years, something you have heard repeatedly and can never escape. From Edie Brickell to Cat Power, there will always be a somewhat quirky, somewhat sappy, somewhat cute, somewhat literate young woman with a lot of musicians circling her like the wolves around Lyceia. The Reminder is full of decent songs tastefully arranged with well-played licks, but it never rises above the factory issue. Nevertheless, it does fill the need for a new voice that is more familiar than new. A pleasant album that will have a lot of meaning for certain of its listeners, even if they will soon outgrow it. [www.myspace.com]

Twelve Stop and Home isn't just the name of The Feeling's debut album or a reference to the Piccadilly line that they sing about in classic Beatles style on "Blue Piccadilly." It's also a way of noting the progression of the album's tracks--twelve in all. The construction, like that of the train, is the same throughout: technically precise and rarely daring mechanics, upbeat melodies and lyrics, and '80s rhythm. But each stop, so to speak, takes the listener to a different location, and every track has its own unique outer twist, like the stuttering calls of "Never Be Lonely," the Queen-like anthems of "I Want You Now," the double-time grind on "Anyone," and the surprising instrumental solos on "Same Old Stuff" and "Helicopter" (metal!). Dan Gillespie Sells's voice is easy to dig, and his words are summer-easy, but the linchpin of the group is Ciaran Jeremiah, who pulls some experimental Britpop out of his keyboards with the erratic "Fill My Little World With Love." [www.thefeeling.com]

Jatun is some kind of shoegazer-industrial hybrid, but with all the substance sucked out. A true yawn-inducer, there is little here to captivate one's ears. The textures of the sound are lo-fi, but uninteresting, and though there are a couple of good tracks to breathe some life into the album, there's nothing truly memorable. It is good place to start for the band though; hopefully next time they will produce something better. [www.jatunmusic.com]

Many probably know Money Mark as the keyboardist of the Beastie Boys. He tries very hard to make an honest to goodness singer/songwriter-y album on Brand New By Tomorrow. And it very well may be that, but all in all, the end product is extremely generic. It even lacks that atmosphere of mischievous fun that the Beasties generate, which leads me to believe he should stay where the fun is, and leave the seriousness to those who can peddle such goods. [www.moneymark.com]

This split LP features some straight-up punk rock and ska music for fans of that stale, 20th century style of rebellion. I tend to agree with and sympathize with most everything the bands have to say, but unfortunately, things have gotten worse politically, economically and in many ways, socially and culturally since punk's inception. Is it that punk dumbs down music to the point where the music doesn't matter anymore and it is mainly an image? Not completely, but it is partially to blame. I think everyone wishes that this message could be put across more effectively; just not sure that this is the way to do it. [www.alternativetentacles.com]

In the stagnancy of today’s music industry, how does a teen idol develop a career? When Rooney released their first album in 2002, the median age of the band members was 19. In the five years since, many of their fans are already in college, raising the all-important question: will they still be interested in Rooney’s middle school love songs? I doubt it. The band should have had a dozen number ones by now, not one promising album and now, a second, hopeless one. These twenty-four year olds should be entering their “Sergeant Peppers” phase, not writing idiotic songs like “I Should Have Been After You.” It is a pity, because Rooney is the rare act that understands the mechanics of a hit song and has the image to sell it. With so many of today’s rock acts ignorant of melody and harmony, unable to put together a basic chord progression, and thinking themselves too hip to sing in tune, a band like Rooney should be knocking them all to the ropes. Instead, they pour all their knowledge of California car and beach music into these dippy songs that aren’t going to appeal to anyone old enough to have a driver’s license. Except for me, that is. Call it nostalgia for the times when music was fun, but I still love this crap. [www.rooney-theband.com]

Singer/songwriters are very hit and miss with me. I guess that’s the nature of the artistic beast. There’s not much else to do other than listen to the lyrics, but the overwhelming sound is the singer’s voice. If either of these is off, the whole thing is a miss. Willy Mason continues to confound me. I want to like him. The music is decent on If the Ocean Gets Rough, and when he pairs up with KT Tunstall, the resulting song, “We Can Be Strong,” is brilliant. But when he relies on his voice and one or two instruments, Willy Mason doesn’t do it for me. I find his voice flat and his stories uninteresting. You would do better picking up Jack Johnson – or better yet, Sufjan Stevens. Just one woman’s opinion.... [www.willymason.com]

Straylight Run has finally hit the nail on the head. For fans expecting great things from former Taking Back Sunday member John Nolan and company, and who were disappointed by their self titled debut and follow up EP Prepare To Be Wrong, this is the album you've been waiting for. With The Needles The Space, the band creates an album that is both intensely odd and at the same time eerily knowledgeable of its own reality. Nolan and his sister Michelle, who share principle songwriting duties, shine like never before throughout Needles, both as lyricists and vocalists, though they do so in different ways. Michelle's quiet crooning on songs like "How Do I Fix My Head" serves as a stark contrast to John's intensity on numbers like "Soon We'll Be Living In The Future." Musically, the band mixes in new (for them) instrumentation with varying rhythms that are far from anything their previous work suggests, as drummer Will Noon is at the top of his game throughout. The album is truly an overall success, as the break from Victory Records allowed Straylight Run to make the album exactly as they wanted. What they produced may be their masterpiece. [www.straylightrun.com]