It seems Cary Brothers (who is a man, not a group of siblings), like The Shins before him, owes Zach Braff a thank you. After being featured on the Garden State soundtrack back in 2004, Brothers released two independent EPs before dropping his debut LP, Who You Are, a nice album full of soft indie rock. Made up mostly of mid-tempo numbers, especially towards the middle of the album, fans of Brothers' EPs will recognize a few tracks ("Honesty," "Ride," "Loneliest Girl In The World" and hidden track "Blue Eyes"), but Brothers does allow himself to rock a bit (the atmospheric "Ride," the near arena rock ready title track and "The Last One"). It's in the quieter moments where Brothers excels, however, as his solid vocals are the focus, especially in the case of tracks like "The Glass Parade" and "All The Rage." So be sure to give Who You Are a shot. Maybe this will change your life, too. [www.carybrothers.com]

The sixth LP from indie singer/songwriter Rocky Votolato finds him venturing out a bit from his previous releases, including 2006's Makers, to a place that's a little more country and a lot less rock and roll than his older work suggests. Interestingly, The Brag and Cuss is also the first time that Votolato has recorded with a full band, giving the album a much fuller sound than ever before. The album is anchored by both mid-tempo alt-country tunes such as "Lilly White," "Before You Were Born" and "Time Is Debt," as well as softer ballads like "The Wrong Side of Reno," "The Blue Rose," and "Whiskey Straight," the only song that hearkens back to Votolato's quieter days. Without a doubt, Votolato is one of the more talented songwriters out there, and he never allows the bigger sound of Brag to get in the way of that. Instead, he creates a sharp and focused album that is emerging as one of the year's strongest outputs. [www.rockyvotolato.com]

Experimental rockers Circa Survive return with their sophomore release On Letting Go, an album which finds its strength in the strong vocals of frontman Anthony Green and the progressive guitar work of Colin Frangicetto and Brendan Ekstrom. For those unfamiliar with the story of Green, who left then up-and-coming rockers Saosin in early 2004, there were a lot of expectations for this album, as their debut, 2005's Juturna, is often thought a landmark in the genre. The good news for Circa fans is that this is not Juturna Part II; for On Letting Go, while not always blazing new trails, does not disappoint. Many of the tracks, including the title track, opener "Living Together," and "In The Morning and Amazing..." are quite reminiscent of Juturna, but the band often proves themselves able to venture into new territory. The band succeeds most when they switch things up rhythmically, as drummer Steve Clifford and bassist Nick Beard prove equal to any rhythmic task on songs such as "The Greatest Lie," and especially on "Mandala" and "Kicking Your Crosses Down," two tracks which may prove to be dividing lines for fans. On Letting Go, however, is an album that fans should grab onto and not let go of, as it is a worthy addition to an already excellent 2007. [www.circasurvive.com]

“…But they’re HUGE in Canada!” That seems to be the way I describe Sloan to everyone I know. Because honestly? Not a lot of people near me (i.e., those living in the South) have heard of them. Despite having had several pretty big songs over the years, when MuchMusic changed to their crap US version, Sloan dropped off the radar in much of the States. Which is a damn shame… With the exception of the rather dreadful “Live The Life You’re Dreaming Of” and “It’s Not the End of the World,” Never Hear The End Of It is the most consistent 30-song offering you’ll ever run across. Depending on the day, I feel some tracks more than others, but if you’re looking for good, solid power pop, you could do a hell of a lot worse. Looks like the domestically unsung veterans of the Canadian rock scene can still put out some good shit. Nice to know. [www.sloanmusic.com]

There is no shortage of creativity on the debut album from Anchorage, Alaska's Parker Longbough. The singer-songwriter (Longbough's real name is Matthew Witthoeft) transmits a multi-textured sound which incorporates elements of lo-fi indie rock, folk, and electronica into a blend reminiscent at times of Ben Kweller or the mellower side of Beck. Longbough and his supporting cast of players exhibit a tendency toward relaxed tempos/arrangements, hazy vocals and the slightest tweaking of sounds and other basic musical elements; all of which allow Longbough to sound a bit more experimental than your average lo-fi or folk artist. On tracks like "Swimming in My Mind", "Half a Life" and "Songwriter Leaving Pt. 1", Longbough's intentions are communicated swimmingly, each track packed with a promising energy. But these successes are marred by tracks like "Expatriate", "Brodawg Deal" and "3 Drunken Days" which are sloppier, less tuneful and honestly, a bit difficult to listen to at times. Commander Comatose also suffers from lyrics which often seem as if they were written in a high school English class, or, in the case of "I Was Wrong", written about high school itself. There's no denying that Longbough does have a great deal of potential, however, it remains to be seen if future expressions of his vision can result in a more consistent and cohesive product. [www.parkerlongbough.com]

As a means to whet the appetites of fans who eagerly await the fall release of their new LP, The Spill Canvas dropped Denial Feels So Good, a nice little set of tunes that will more than serve the purpose. The band, who recently penned a deal with Sire Records, wrote a few new songs ("To Live Without It," and "Apprecation and the Bomb"), covered a few more (an excellent rendition of Fleetwood Mac's "Gold Dust Woman" and Donovan's "Catch The Wind") and did some minor tinkering with an old tune (One Fell Swoop's "Stapplegunned") to create an EP that will not only sate old fans for a few months, but may also bring in some new fans as well. [www.thespillcanvas.com]

Kurt Hagardorn’s aesthetic motto of recording “only when [he] has a great song” is subject to scrutiny, but Ten Singles doesn’t have a rough time living up to its creator’s high ideals. He pulls from the sacred tome of ‘60s and ‘70s popular music, incorporating Neil Young’s twangy guitars with Ray Davies’ melodies and Beach Boys harmonizing. Hagardorn isn’t charting new musical territory, but he’s not feigning it, either. That’s what counts. Consider the album a delectable treat for the sweltering days of the upcoming summer. [www.myspace.com]

The Athens, Georgia based quintet The Winter Sounds come roaring out of the gate on their latest LP Porcelain Empire. Opening with the catchy break up anthem “Windy City Nights, which deftly mixes punk-like rhythms with melodic hooks, the song sticks in your mind not only after you’re done with listening to it, but after you’re done with the album itself. That’s not to say that song hogs the album, however, for there are plenty of other great tracks, such as “Poor Sailors” and the anti-suicide song “You Can't Give Up.” Vocalist Patrick Keenan imbues each track with just the right amount of sincerity and honesty, making this a must-hear debut. [www.thewintersounds.com]

Perfect for a dreamy afternoon, Shapes and Sizes' self-titled LP finds the Canadian group serving up a wonderful dose of indie-pop. Much like labelmates Rafter, Shapes’ music can delve into trippy and ethereal country, but they pep it up a bit. Key tracks on this album include the opener “Islands Gone Bad”,”Oh No, Oh Boy” and the closing piece “Boy You Shouldn’t Have.” Fans of the band will not be disappointed with this release, and new fans will find a good starting point for this talented group. [www.shapesandsizes.ca]

“Throw me into the soft noise.” So says Icelandic singer Daniel Agust during “The Moss,” the second track off his debut solo record, Swallowed a Star. While his symphonic chamber pop can be considered soft, it’s certainly not noise. Agust is a co-founder of GusGus, a band that received great notoriety in their native land for their dance-friendly brand of electronica. Tight arrangements with minimal instrumental interplay of simple orchestral pieces strike a more somber tone here; with the album revolving around the cello and violin, they're as far from over the top as you can get. Picture the raw groove of Tom Waits or even Morphine but with a classical and ambient twist and you’ll get the idea. Comparisons to Sigur Ros are inevitable as well, but they’re justified as Agust’s vocal style often mirrors that of his fellow countrymen. Lyrically it’s simple and nothing to write home about, but you probably won’t be listening to the words when you hear Swallowed a Star's subtle beauty. [www.indian.co.uk]

Filtering delicate vocal textures reminiscent of Simon and Garfunkel through alt-country sounds and spacious folk landscapes that reference The Byrds, Elliott Smith and Wilco at times, Cleveland quintet The Dreadful Yawns achieve a sound which is instantly engaging yet multifaceted, familiar yet relevant. On their third album, the band's current incarnation produce a number of blissfully memorable moments. Just try not to get swept up in the winning folk shuffle of album opener "You've Been Recorded", the country-tinged splendor of Gram Parsons cover "November Nights" or the four minutes of beautifully cascading "la's" which close "Candles." In fact, I dare you not to be carried away completely in the charm and craft of the entire album; Rest is the portrait of a band firing on all cylinders and with a little luck (or any justice), this gem of an independent album will find the hearing it deserves. [www.myspace.com]