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The title of the second album by this SoCal duo seems directed toward skeptics who called their debut an Interpol- (or Bravery-) aping, dance-rock cash grab.

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A Godzilla-size pileup of whiplash metalcore and Sunset Strip swagger, Avenged Sevenfold's 2005 major-label debut, City of Evil, won unexpected platinum status (aided by MTV's embrace of the stripper-friendly video for "Bat Country"), despite sounding like a social experiment gone haywire.

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Electro-house pioneer Felix Stallings drastically pares down the guest list of his previous party-ready Housecat albums for the vague ache of mid-'80s synth-pop balladry. Despite having the run of R&B kingpin Dallas Austin's palatial studio, Stallings opts for more low-key performances (most of the heavily processed, indistinct vocals are his) and bedroom hooks.

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Any honest appraisal of Emma "Scout" Niblett must acknowledge PJ Harvey and Cat Power, both of whom started their careers on the same fertile, dangerous edge that Niblett inhabits.

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Started as a side project by Wolf Parade singer/keyboardist Spencer Krug, this Montreal band has the grandeur of a main event. Their creepy, absorbing third album brims with the brittle pop practiced by everyone from Sparks to Arcade Fire, piling on layers of tinkly sounds to create a carnivalesque aura. Krug's fevered jabbering suggests a mind consumed by festering obsessions.

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Andy Dragazis' fourth album as Blue States -- the debut act on the Brit label now known for the Go!