Prolific 22-year-old Nebraska singer-songwriter Connor Oberst returns to his Bright Eyes guise for this 13-track effort, following a stint fronting the band Desaparecidos.

The creation of Snow Patrol's Gary Lightbody, the Reindeer Section is a Scottish indie-pop supergroup. For this sophomore effort, the Section includes appearances from a whopping 27 people, including members of Belle & Sebastian, Arab Strap, Astrid, Mogwai, Mull Historical Society, Idlewild and Teenage Fanclub.

This is the debut LP from the Texas band, which features three former members of At The Drive-In (including guitarist Jim Ward).

The moody alt-country band led by David Eugene Edwards returns with its darkest set of songs yet.

Produced by Hugh Jones and Stephen Street, 'Libertine' is the fourth studio album for the Britpop band best known for all the Smiths comparisons it generated with its first few releases.

This is the second album for the 60s-style rock quartet from Detroit.

The Tennessee power-pop outfit returns for their fourth album (and second for indie label Arena Rock after two major-label releases for Elektra). Guided By Voices' Robert Pollard guests.

One of 2002's much-hyped neo-garage rock bands, New York's Yeah Yeah Yeahs have opened for acts such as the White Stripes and the Strokes, and have drawn comparisons to both. This five-track debut EP was originally released in 2001 on the indie Shifty label, and saw a rerelease in the summer of 2002 on Touch & Go.

The synth-pop duo of Amy Dykes (vocals) and Dan Geller (music) are best known for two things: (1) recording all of their music on a laptop computer, and (2) well, their name, which (understandably) attracted some attention post-September 11 and was briefly changed and then restored. This is the band's second full-length release, and includes covers of the Stone Roses' "Shoot You Down" and Blondie's "Call Me."

This is the debut solo release for former Sebadoh drummer/songwriter Jason Loewenstein. On these 14 tracks, J.Loew handles all instruments and songwriting duties himself.

The Austin band's fourth LP represents a new direction for the group (which features Dan Matz and Jason McNeely and a handful of rotating contributors) toward more delicate and intricate compositions. In addition, a new emphasis on vocals makes this the band's most accessible release to date.

This is the third album for the Irish indie-punk quartet, and takes a less harsh, more pop approach than their poorly-received 1998 sophomore effort 'Nu-Clear Sounds.'

The Ohio band fronted by Robert Pollard offers up a 19-track set that is not just a return to former home Matador Records but a full return to classic, self-produced GBV form, after working with outside producers on the previous two albums.

The aptly named 'Three' is the third solo release for graphic artist/Sea And Cake guitarist Archer Prewitt.

It's a bit hard NOT to get noticed when your band consists of a couple dozen people dressed in white robes, but having one of the most memorable debut albums in recent years (think Mercury Rev + Spiritualized + Up With People) certainly doesn't hurt. This 10-song debut (which was originally intended as a demo) did in fact land the Austin, Texas band led by former Tripping Daisy member Tim DeLaughter a major label deal.

The Glasgow band's fifth album serves as the soundtrack to the Todd Solondz film of the same name--in theory, that is, as only a few minutes of this new material is actually used in the movie (in fact, much of the album was recorded after the movie was released). However, as with a typical soundtrack album, expect snatches of dialogue and numerous instrumental tracks interspersed with fully-developed songs.

The former frontwoman of the Los Angeles indie group that dog. strikes off on her own with this solo debut.

Looper's third album (and first for Mute Records) finds Stuart David & co. adopting a darker tone for these ten tracks, which are closely integrated with the band's new live show and promotional materials to tell the story of two characters named Evil Bob and Peacock Johnson.

This is the second album for the eclectic indie-rock band fronted and founded by John Schmersal (Brainiac). For this outing, the band has expanded to a four-piece, with new members Matt Schultz and former Blonde Redhead bassist Toko Yasuda (who replaces Steve Calhoon and handles some vocals).

Steve Albini was behind the boards for the Chicago-by-way-of-Seattle band's third album for Touch & Go Records.

Ugly Casanova is the alter ego of Modest Mouse singer/guitarist Isaac Brock, who makes his solo debut with this release. The 13 tracks were produced by Brian Deck (Tortoise, Sea and Cake), and the backing band includes Pall Jenkins (Black Heart Procession) and Tim Rutili (Red Red Meat), but it sounds a lot like a Modest Mouse release.

The second solo release for former Helium singer/guitarist Mary Timony was produced by Sparklehorse's Mark Linkous.

Moving back to the indie leagues after one major-label release (1998's 'Freak*on*ica' for Geffen), the hard-rocking foursome return to form for the most part on these 11 tracks, retaining only a few techno touches from the experimentation of their previous effort.

The third LP for Kansas City's Get Up Kids follows after endless touring with the likes of Weezer and Green Day, and sees the emo band moving in a new direction, thanks in part to producer Scott Litt (R.E.M.).

This is the debut full-length for the Los Angeles-based experimental electronic artist.

This is the debut full-length release for the New York art-rock four-piece, following a string of EPs.

The ever-changing Washington D.C. outfit dives completely into the realm of 80s-style electro-synth pop (complete with vocals) for this, their sixth album.

The Washington D.C.-based indie-pop group returns with a fourth LP. Sasha Bell of Ladybug Transistor guests on two tracks.

This is the fifth LP for the Athens, GA-based indie-pop band (part of the Elephant 6 collective) fronted by Andrew Rieger and Laura Carter.

Now a three-piece, English glam-rockers Gay Dad return for their sophomore album, following 1999's Leisure Noise.

One of the first Next Big Things of 2002, Sweden's The Hives follow last year's media darlings The Strokes and The White Stripes in bringing the rock back to alternative rock. The only catch is that the band has been around for over a decade, with this particular album actually dating back to 2000, when it gained a limited U.S. release on a tiny Epitaph imprint. However, the Swedes were able to benefit from the rush to capitalize on the neo-garage/punk-rock movement by scoring a major label deal in early 2002 and a rerelease of this, their second full-length. (They've got The Strokes beat on length, though, managing to release an even shorter album, at just 27 minutes.)

The fourth album from the Milwaukee emo band is their first with veteran producer Stephen Street, who gives the album a more expansive sound.

This covers album from the former American Music Club leader includes versions of songs by everyone from Culture Club ("Do You Really Want To Hurt Me?") to Glen Campbell ("Gentle on My Mind").

The third album from the Chicago-based post-rock trio best known for their dual bassists was produced by John McEntire (Tortoise, Sea and Cake).

Christian-indie rocker David Bazan follows 2000's 'Winners Never Quit' with this full-length album. This time out, Casey Foubert (Seldom) lends a hand with the instrumentation.

This debut album from the Richmond, Virginia band (featuring Maura Davis and members of Engine Down) was produced in part by Sparklehorse's Mark Linkous.

Although the 20-something New York City rockers have the names of two former Can vocalists in their moniker, their sound is more frequently compared to the MC5. 'Electric Sweat,' their second album, attracted a good deal of attention for the band from music publications in the U.S., drawing the now-mandatory Strokes comparisons.

The mellow indie-pop duo (Maria Taylor and Orenda Fink, both former members of Bright Eyes) returned to the studio with producer Eric Bachmann (Archers of Loaf) to record this sophomore LP. Fink and Taylor also lend their vocals to a track on Moby's latest, '18.'

The Seattle-based emo trio (although now without one-time member James Bertram of Red Stars Theory) moves to Tiger Style Records for this, their fourth full-length release. Phil Ek (Unwound, Built To Spill) produced these 10 tracks.

This is the Cincinnati, Ohio band's major label debut.

The third and final album by the current lineup of this Chicago-based indie band (band member and Aesthetics label head Ken Dyber is leaving the group) includes 10 new tracks, featuring the alternating male/female vocals of Joseph Costa and Lindsay Anderson alongside the band's moody, haunting sound.

This third album for the Jersey City rockers (who come across a bit like an emo Tenacious D) was produced by Steve Albini.

This is the fifth album (and a return to English-lanugage songs) for the well-regarded Welsh indie band, now signed to a major label (Epic). It is the first album ever to be released simultaneously on DVD and CD (with the DVD containing a movie and a remix for each track on the album). Paul McCartney and John Cale have cameo appearances on the album.

As you may have guessed from the title, this is an album of covers by Howe Gelb, mainly recorded with Calexico's Joey Burns and John Convertino. The ten studio tracks and three live performances include versions of Sonny Bono's "The Beat Goes On," Grandaddy's "Blue Marble Girl," and Black Sabbath's "Iron Man."

Kid Loco produced this sophomore effort for London's Departure Lounge, who are fronted by Tim Keegan (a former guitarist with Robyn Hitchcock & The Egyptians). Hitchcock guests on one track, as does former Cocteau Twin (and producer of Departure Lounge's debut) Simon Raymonde.

Toronto-based singer/songwriter Hayden (Paul Hayden Desser) returns to his bedroom-recording indie-label roots, after two previous releases for Geffen.

Indie rock legend Bob Mould (Hüsker Dü, Sugar) returns with his fifth solo album, and first for his brand new record label (Granary Music). In another first, Mould delves into electronica for the first time as well, abandoning traditional instruments for synths and computers on half of the album.

The Buzzcocks are back. Well, almost. Pete Shelley and Howard Devoto, founding members of that seminal punk band, have recorded together for the first time in over 25 years, resulting in these 14 brand-new electronica-laden tracks.

The distinctive Liverpool indie/garage band is back with a follow-up to their well-received 2000 debut 'Internal Wrangler' (which was just released last fall in the U.S.). The positive press generated by these two releases led to the band signing a major-label deal with Universal, which re-released 'Walking With Thee' on August 6, 2002.

This is the third studio recording for the Seattle-based outfit founded by members of indiepop forefathers Crayon. Ex-Sno*Boy guitarist Harold Hollingsworth has been added to the group's lineup.

This is the first album in over three years (and first for new US label Emperor Norton) for the all-girl Japanese indie-electronic-rock-pop outfit. Money Mark and John McEntire make appearances here, although Cornelius does not.

With the word "blue" appearing in four out of the seven song titles, you get a general idea of Jason Molina's mood as he recorded this sixth proper LP under the Songs:Ohia name. The entire album was recorded live in a Philadelphia studio with Molina backed by a new full band, including co-vocalists Jennie Benford and Jim Krewson.

A musician since his early childhood, 20-year-old Texan Ben Kweller experienced some minor success with the band Radish in the late 1990s before embarking on a solo career highlighted by 'Sha Sha,' his debut full-length for Dave Matthews' label Ato.

The second album from the Denver-based indie-pop band features 13 new self-produced tracks. The four-piece outfit includes Tammy Ealom on vocals and Apples In Stereo guitarist John Hill on, well, guitar.

Los Angeles-based Phantom Planet is best known for counting among its members "Rushmore" star Jason Schwartzman and "Donnie Darko" star Alex Greenwald. 'The Guest,' their second album, was produced by Mitchell Froom and Tchad Blake.

Following the critical success of their 1999 effort, 'Madonna,' the lengthily-named Austin, Texas indie band signed with Interscope and recorded this, their major-label debut.

'C'mon' is the third full-length release for the experimental Chicago-based instrumental quartet.

Producer Dan "The Automator" Nakamura, a founder and member of acts such as the Gorillaz, Handsome Boy Modeling School, Deltron 3030 and Lovage, here offers his first mix album. Many of the cuts are from his own remixes or productions, and come from bands ranging from Tortoise to the X-ecutioners.

This is the fourth album (and third record label) for the Athens, GA indie outfit.

Fog is 23-year-old turntablist Andrew Broder, and this is his debut album, a cut-and-paste mix of various sounds combined with guitar and vocals.

Procuded by Mo'Wax label head James Lavelle (U.N.K.L.E.), the debut album from London's South mixes electronica and indie rock, drawing comparisons to everyone from the Stone Roses and Happy Mondays to Badly Drawn Boy and DJ Shadow.

Kurt Wagner & co. return for the band's sixth album, which is a more stripped-down affair than their previous effort, 'Nixon.'

The second album from New York City dance-punk outfit Radio 4 utilizes the production work of DFA (U.N.K.L.E., David Holmes) to create a sound reminiscent of Primal Scream's 'XTRMNTR.'

This is the debut album for psychedlic British indie-rockers Electric Soft Parade (actually two teenage brothers, Tom and Alex White), drawing comparisons to everyone from Grandaddy and the Charlatans to Teenage Fanclub and Buffalo Springfield.

This is the fourth solo album from the founding singer/guitarist of the legendary New Zealand indie band The Clean.

This is the debut release for the new project from Macha's Josh McKay. Unlike his work with Macha, McKay here avoids Eastern influences to concentrate on moody, atmospheric works.

This is the second full-length from the Kansas-based emo band.

Stephin Merritt (Magnetic Fields, Future Bible Heroes, Gothic Archies, The 6ths) provides the low-key score to the James Bolton indie film, consisting of 10 instrumental and 6 vocal tracks.

The Sunshine Fix is a 60s-themed side project for Olivia Tremor Control's Bill Doss.

Clocking in at 65 minutes, this EP from Japanese experimental electronica producer Nobukazu Takemura contains just four songs, including the title track (which differs from the version on 'Hoshi No Koe') and "Souvenir in Chicago," a 35-minute jam session featuring members of Tortoise.

This is the sixth studio LP from the Scottish three-piece.

This is the second international release for Japanese producer/remixer/artist/recording star Cornelius (Keigo Oyamada), following his 1998 breakthrough debut for Matador, 'Fantasma.' A bit less cut-and-paste than its predecessor, 'Point' still showcases a range of musical styles in its 11 tracks.

Following 2000's 'We Love The City,' the self-produced 'Dead Media' is the UK band's fifth album in just four years.

This is the first solo release from Slowdive and Mojave 3 frontman Neil Halstead, and includes occasional guest contributions from the likes of his bandmate Ian McCutcheon and Locust's Mark Van Hoen.

The Chicago-based avant-garde musician (best known for his work in Gastr Del Sol) offers up seven new tracks in his follow-up to 1999's 'Eureka.' Wilco's Jeff Tweedy adds guitar.

This is the Leeds, England indie-rock band's first American LP release in four years. Akin to recent Radiohead, this disc incorporates experimental electronica elements, and also adds guest vocals from members of hip-hop outfit cLOUDDEAD.

Neil Hannon returns with a follow-up to 2000's 'Gin Soaked Boy.' A bit of a departure, this album utilizes Radiohead producer Nigel Godrich and a larger group of musicians to highlight a more serious side to Hannon's music.

This is Marc Bianchi's second LP as Her Space Holiday, which also includes his girlfriend, Keely.

Dntel is an electronica side project for Jimmy Tamborello of Strictly Ballroom and Figurine. Here, he is joined by a who's-who of indie rockdom, including Mia Doi Todd, Ben Gibbard (Death Cab for Cutie), Chris Gunst (Beachwood Sparks) and Brian McMahon (Slint).

The eclectic Washington, D.C.-based indie band follow their best-received album, 1999's 'Emergency & I,' with this, their fourth LP. The Plan announced their breakup subsequent to its release.

The fourth album from Bob Wratten under the Trembling Blue Stars name features yet another new lineup (although Annemari Davies does return for a couple of tracks).

Kathleen Hanna (also of Bikini Kill) returns for her second album with Le Tigre, the follow-up to the band's well-received 1999 debut.

Though Washington D.C. hard rockers Fugazi have been together for almost 15 years, this is just their eighth full-length release.

Los Angeles-based alt-country outfit Beachwood Sparks return with a second album for Sub Pop. The disc includes a cover of Sade's "By Your Side."

This is the third album for the Washington-based indie rockers.