Jason Isbell, 'Sirens of the Ditch' (New West)

New-school Southern gothic rock, by the grace of God.

Prior to leaving the group earlier this year, Jason Isbell was the best thing to happen to the Drive-By Truckers since Lynyrd Skynyrd.

The Cribs, 'Men's Needs, Women's Needs, Whatever' (Warner Bros.)

Bratty Brits keep rockin' for the hipster riffraff they hate.

"Hey Scenesters!," the most memorable track on this English fuzz-pop trio's last album, worked like a cynic's response to Art Brut's "Formed a Band." For their third full-length (which Franz Ferdinand's Alex Kapranos produced), the Cribs have grown no more tolerant of cool-kid conformity: "

Tegan and Sara, 'The Con' (Vapor/ Sire)

Canadian sisters still refining their heavenly harmonies.

The Quin twins' new-wave pop hooks are stronger than ever on their fifth (fourth in the U.S.) album, as the Calgary duo relocates to Portland to work with Death Cab for Cutie producer Chris Walla and the formidable rhythm section of Death Cab drummer Jason McGerr and bassists Hunter Burgan (AFI) and Matt Sharp (the Rentals).

Pastor Troy, 'Tool Muziq' (SMC)

Blustery, derivative songs have a less-than-sudden impact.

Crunk is all about the payoff -- blaring, riotous beats building to a chant-worthy chorus. Pastor Troy, the Atlanta rapper known for his 2002 Timbaland-assisted single "Are We Cuttin'," only has half that equation down. Intense energy: Check. Memorable hooks: Not so much. "Hard for the Money" awkwardly contorts the Donna Summer original into a tired stripper ode.

The Starting Line, 'Direction' (Virgin)

Good-hearted dorks make the most of same old emo hokum.

Just what the world needs: another formulaic record from a pop-punk band that efficiently delivers surging guitar anthems while a cute, sincere, openly emotional young guy pours out his heart. But unexpectedly, the third album from this Pennsylvania quartet has its compelling moments, thanks in large part to likably corny singer Kenny Vasoli.

Yellowcard, 'Paper Walls' (Capitol)

After fiddling with their sound, it's back to emo business.

This pop-punk quintet released a fan-polarizing 2006 album that included a contemporary jazz number and -- gasp! -- a cameo by a Dixie Chick, but here they return to the infectious anthems that made them Warped Tour headliners.

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