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Garage-punk mensch Greg Cartwright has been refining the Reigning Sound's frayed, soulful bleat since the band's 2001 debut (after his rowdier crew, the Oblivians, screeched their last). And here he's at his most tenderly heartworn yet.

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Von Oswald has been at the vanguard of electronic music for almost two decades, remaking German techno into something befitting a supercollider -- spacious, echoing, metalencased -- with Basic Channel, Maurizio, and Rhythm & Sound.

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In 1973, Connecticut longhair Gary Higgins recorded Red Hash, a gently gnomic album of post-hippie comedown folk. A subsequent

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The Twilight Sad's 2007 debut album, Fourteen Autumns & Fifteen Winters, firmly placed them in Scotland's tradition of intensely literate sad bastards (Big Country, Belle & Sebastian, Arab Strap). But the quartet spend most of their follow-up in hiding.

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"I can't define myself through irony and self-deprecation," Max Bemis sings on "Mara and Me," a wonderful spazz-pop waltz from his band's latest album. Oh, sure you can, dude.

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For the first solo album under his nom de tune, Scott Kannberg eschews the catchy cacophony of his earlier bands -- Pavement and Preston School of Industry -- for breezily quirky '70s country-pop and late-'60s psychedelia that's two parts Lindsey Buckingham and one part Roky Erickson.