Time Out of Mind

Three new albums offer visions of the future, but are any of them realistic? And how do they compare with the grandpappy of dystopian discs, Rush's 2112? The New York Times' futurist-in-residence -- it is too a job! -- Michael Rogers weighs in.

Rush, 2112

Shapes and Sizes, 'Split Lips, Winning Hips, a Shiner' (Asthmatic Kitty)

Indie rock that almost falls apart -- spectacularly.

Shapes and Sizes don't play songs as much as teeter toward them, frequently finding grand, cabaret-style moments in their slipshod quest for inspiration.

The Sea and Cake, 'Everybody' (Thrill Jockey)

Chicago lounge dwellers reveal their sneaky edge.

A quick taste of the Sea and Cake's sighing voices and moonlit guitars could raise suspicions of a simple chill-out session. But after a decade-plus in action, Sam Prekop's crew have mastered a more intricate approach, seasoning their gently introspective tales of "distracted and lazy" lovers with stronger ingredients.

The Art of Hustle

Charles Aaron pounds the pavement at SXSW with Uncrowned, rock's hungriest unsigned band, to find out why talent and determination may no longer be enough.

Joell Ortiz, 'The Brick (Bodega Chronicles)' (Koch)

The best Latino rapper since Big Pun -- and he crushes a lot.

Joell Ortiz, the latest artist signed to Dr. Dre's Aftermath imprint, is well aware of his niche. On "Hip Hop," he raps, "I don't try to make you dance / I rip beats." And on this warm-up to his major-label debut, the spirited rapper breezes through four 125-bar epics -- the average song contains 48.

Megadeth, 'United Abominations' (Roadrunner)

Mustaine and Co. threaten to thrash the government.

Megadeth have never adapted their razor-edged shredding to straight-up arena rock as well as Metallica, and even their most ferocious '80s efforts felt a little unresolved. The band has always had a general political awareness, but United Abominations is Dave Mustaine's serious stab at protest rock, and the results are similarly mixed.

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