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On her debut album, Kira Lynn Cain's vocals are more felt than heard among slumbering rhythms, decadent strings, piano, organ, and delicate acoustic guitar. The dreamscapes alternate between early-'70s French pop (see Françoise Hardy's La Question) and incidental music for a film to be named later.

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Few musicians conjure apocalyptic dread better than Burnett, and few plays foresaw a world of toxic entertainment more presciently than Sam Shepard's 1972 Tooth of Crime. So a Burnett album based on Shepard's old project makes sense. But between the singer/songwriter's hectoring-preacher delivery and predictable surf-guitar-noir arrangements, the result is one dreary sermon.

Originally planned for release last September, this 18-year old Brooklyn fireball's debut album follows a year-long string of singles and semi-singles.

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Legendary Houston fixture Bun B has a flair for Southern-fried folksiness and lyrics that are as poignantly evocative as they are salaciously entertaining.

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As proponents of a style that blends dense lyricism, West Coast jeep beats, and progressive politics, Blue Scholars are one of underground hip-hop's most challenging voices. Their third EP includes "Loyalty," a standout track from last year's inspiring Bayani album, two new songs (including the anthemic antiwar, pro-democracy title track), plus three instrumentals.

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Named after the most abrasive track on the first Velvet Underground album, this druggy sextet from Austin, Texas, reach for spine-prickling, horror-inducing sonic deliverance. Like their 2006 debut, Passover, Ghost drowns in Spacemen 3–like drone, feedback, and reverb until the tunes congeal into a deliberately muddy, impenetrable trance.