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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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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.

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With growing families, solo albums, label changes, and geographical barriers (two main members living on opposite coasts), should Old 97’s even exist in 2008, never mind be this focused?

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American Music Club produced perhaps the most emotionally intense indie rock of the late '80s and early '90s. Singer Mark Eitzel can silence a room with his beautiful-loser conviction, but his brain is too abuzz with ambivalence to ever settle for simple angst or

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Hawley names most of his albums for local Sheffield, England landmarks, but he doesn't keep provincial musical borders. The fifth solo album by this in-demand session man, who includes Jarvis Cocker and Scott Walker among his employers, sports graceful, cosmopolitan piano and strings, while Hawley croons like a debonair chansonnier who's overdosed on Jim Reeves and Serge Gainsbourg.

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Michael Gira still explores the drones and grinding rhythms that he recorded with legendary art-punk band Swans, but on this fifth album with collective Angels of Light, the singer/songwriter focuses on whiplash juxtapositions of sound and style.