2007 is now upon us and The 69 Eyes have released their Hollywood album, called simply 'Angels' and it's dripping blood and gasoline. The vision is Mad Max; the world is at the end of a nuclear war but the Helsinki Vampires are coming over the wasteland to save us, armed with blazing guns, tight leather pants and several cases of liquor. Once again produced by the Hiilesmaa/Lee Michaels combo, 'Angels' is the band's ninth studio recording and the flip-side of 'Devils' - the slutty rocker to the seductive sister.

The second single is "Never Say Die" - the video which includes a whole bunch of The 69 Eyes' Hollywood-inner-circle party people as well as mySpace's world famous sleaze queen Forbidden was also directed by Ralf Strathmann and filmed around L.A. in January 2007.

Abra Moore has released albums on record labels large and small, toured with the Lilith Fair, earned a Grammy nomination for her vocal performances, and placed tracks in movies, television shows, and best-selling video games. But for all her worldly success, it's the intimate connection that she's forged with her fans that stands as her greatest accomplishment. It's no wonder that her devoted fanbase treats each new release as a reason to rejoice. In her hometown of Austin, Abra Moore is a legend - and she's respected and celebrated everywhere singer-songwriter music is heard.

Daring production choices have often distinguished her recordings from those of other singer-songwriters, and that continues to be true with On The Way. An Abra Moore vocal can feel positively bewitching, and subtle use of reverb and echoing effects often amplifies the strange and beguiling quality of her recordings. On "Sugarite", a song of memory and longing, Moore sounds simultaneously heartbroken and detached, delivering each note with a near-unearthly precision. She begins her story over an acoustic guitar riff reminiscent of Suzanne Vega's early work - but by the end of the song, the drums and overdriven guitars have kicked in, and the track becomes a dizzy, swirling reverie. It's a bold, uncommon sound for a contemporary singer-songwriter, strongly suggesting Moore's roots in the uncompromising and globetrotting Poi Dog Pondering.

Acceptance is a band out of Seattle, Washington. They are made up of Jason Vena (Vocals), Christian McAlhaney (guitar and vocals), Kaylan Cloyd (guitar), Ryan Zwiefelhofer (bass), and Nick Radovanovic (drums). They were formed in 1998 by Jason, Kaylan, Chris DeCastro who played drums, and Peter. Chris and peter soon left the group and Ryan, Nick, and Christian joined on. They released "Lost for Words" in 2000, "Black Lines to Battlefields" in 2003 and "Phantoms" in 2005. They play alternative style music similar to the Foo Fighters. They haven't made any important performances, but played The Webster on Feb. 5th and are currently on tour. They were influenced by The Beatles, Metallica, Jimmy Eat World, and Counting Crows.

Aesop Rock (born Ian Matthias Bavitz on May 11, 1976) is an American hip hop artist. He was at the forefront of the new wave of underground acts that emerged during the late 1990s/early 2000s. He is signed to El-P's Definitive Jux label and is a current member of the Weathermen.

While often compared to Kate Bush, Siouxsie Sioux, and Tori Amos, Natasha Khan has developed an identity and sonic vocabulary of her own. Her music, while immediately familiar, is also elusive, multifaceted, impossible to pin down. Nevertheless, one word that continues to appear in reviews of Bat For Lashes is "spooky", and it's a good descriptor: Khan herself has likened the feel of her music to "Halloween as a child", and she's appeared onstage dressed as a skeleton. Part of the ghostliness of Fur & Gold radiates from Khan's ethereal - but edgy - vocals. Her voice is a supple instrument; she can howl and purr, address the listener conversationally, sound like a frightened child or a terrifying adult, and switch between modes with startling precision. "What's A Girl To Do?", the first American single from Bat For Lashes, starts with a near-spoken verse over a Phil Spector beat, and then slips into an anguished, howling chorus. It's a chilling ride, hypnotic and engrossing, and it announces Natasha Khan's arrival as a nascent master of cinematic song.

Director Dougal Wilson is no stranger to strange, spectral music - he's shot videos for LCD Soundsystem, Hard-Fi, and The Streets, and he was behind the camera for the creepy late-night taxi drive that accompanied Jarvis Cocker's "Don't Let Him Waste Your Time". But with the unsettling clip for "What's A Girl To Do?", he's outdone himself: it's one of the best clips we've seen all year, and it's sure to be the talk of YouTube and other video-sharing sites. Looking lovely - and perhaps a little dreamy - in a blue pajama-top and silver tights, Natasha Khan guides a child's bicycle down a deserted highway at night. She rides, unswerving, in the middle of the road, and sings as she does; behind her, trees angle toward the center of the street, forming a dark canopy over her head. Light flashes off the bicycle handlebars and reflectors, the clip in Khan's hair, and the sparkles on her shirt. But when "What's A Girl To Do?" reaches its chorus, the action really begins: a chorus-line of BMX bike riders suddenly appear behind her. Wearing giant, grim animal masks, they clap along with the song and perform stunts in tight formation. The incongruity of the masked riders only add to the chill - as do the images of trick-or-treaters lost in the woods, abandoned and upturned automobiles, and Khan's own breath, condensing in clouds beside her.

Although their brand of wild-eyed, tuneful garage punk is unlike anything else in contemporary indie, the Black Lips have still been the talk of the underground for the past year. The Atlanta quartet's explosive, raucous stage show has earned them notoriety (and rabid fans) wherever they've played, and the recent VICE Records release of the all-live Los Valientes Del Mundo Nuevo has only solidified their rep as a ridiculously exciting gigging group. Recorded in Tijuana - that capital city of licentiousness - Los Valientes captures a group on the brink of self-immolation, playing insanely-catchy garage punk tunes with the vigor and zeal of rock and roll evangelists.

"Hunting For Witches" is, perhaps, the most serious-minded track on the new Bloc Party CD; while it's as infectious and propulsive as anything Bloc Party has yet released, its condemnation of the politics of fear is unflinching. Written in response to the crackdown following the London bombings of July 2005, "Hunting For Witches" examines government and press manipulation of popular sentiment; fear, Okereke suggests, can easily turn into a desire to scapegoat dissidents and foreigners. He's talking about Britain, of course, but his is a message that will have special resonance for American listeners. Revenge becomes an excuse to set aside critical thinking, and to indulge in our baser impulses in the name of "accountability."