His is a face you may not be familiar with (yet), but chances are, your kid sister will recognize it. Lanning has appeared on MTV reality programs Score and My Own, and his Justin's World video weblog has been a popular download on YouTube and iTunes. He's made appearances on CSI, Boston Legal, and Wings, and has already distinguished himself as an actor and a camera presence.

But Justin Lanning's heart is in his music. His independently-recorded debut - released when the singer was a teenager - won him underground recognition and a nomination for a Los Angeles Music Award. Now 21 years old, Lanning's songwriting has grown more sophisticated and more intimate. The upcoming Behind These Eyes will introduce pop music fans to a talented multi-instrumentalist with a gift for melody and the courage to bare his soul to his audience. Lanning's piano parts are expressive and played with great conviction; he's got an instinctive feel for the backbeat, and on songs like "Closer To You", he shows he can slip in and out of a rock groove effortlessly. "Take My Breath Away" is a gorgeous piano ballad, a statement of faith and a slow-dance natural; expect this one to be played at a prom near you. It has also logged 800+ spins per week at over 600 AC radio stations nationally.

Killradio is a punk-revival and pop punk band formed in 2001 in Thousand Oaks, California. They use a mix of music styles, including heavy rock, ska, funk, and hip-hop.

Sperber and Pursel also have quite an impressive stable of friends and collaborators. Teeter Sperber worked with Max Bemis during the recording of ...Is A Real Boy; the Say Anything star returns the favor by lending his voice to two tracks on Regional Community Theater. Fairmont's Neil Sabatino channels Ben Gibbard on the electrifying "Lady Of Travel And Leisure", Justin Johnson of the Danger O's fires up "Shark Party", and Matt Pryor of The Get-Up Kids lends his own unmistakable pipes to "Cooper, Thanks For The Birds". But the LadybiRdS' most favored guests on Regional Community Theater were considerably less heralded: a kid's choir from a local Pennsylvania elementary school. They join Teeter Sperber on the chorus of "Andy Lex", and the results are nothing short of heavenly.

With its indelible chorus and subtly infectious beat, single "The Brown And Red Divide" has already become a podcast and weblog favorite, and was singled out as a choice cut in All-Music Guide's four-and-a-half star rave review of Regional Community Theater. In his warm and inviting clip for "Brown And Red", director Jeff Powers - also a Philly-area artist - emphasizes the quiet camaraderie between Sperber-Pursel. Powers finds the duo in a library festooned with cardboard cut-outs of birds. They're there to play their song, but they also hold hands and stare at the books, uncover objects hidden in their palms, read, drink a little wine, shoot each other glances, and bump into each other without causing friction. (In one memorable shot, Teeter Sperber appears in silhouette, swinging the cardboard bird and singing into a hand-held microphone.) The choppy, sped-up footage makes it look like the two LadybiRdS are blinking around the room; but there's nothing modern or slick about the clip. On the contrary, Powers and the band emphasize old things - thick vintage tomes, yellowed sheet music, antique mirrors, life masks. Lyrics to the song appear on invitation cards; one at a time, they're presented to the viewer like offerings, or love-notes passed across a classroom.

"Only 20", the latest single by Landon, is a pure summertime rock treat - a blast of Cali heat and old-fashioned American bad attitude - and it's got a clip to match. And since too much of Landon is never enough, the band has appended to the reel the sexy and hilarious video for "Red Lipstick". Both clips add to the mystique and aid the band's assault on the charts, and reaffirm Landon's undisputed status as an irresistible electro-rock force.

Any discussion about the Landon Band begins with Landon herself. We'll start with the obvious: she's gorgeous. Thousands upon thousands of musicians will release new albums this year, and not a single one of them will look the part of a superstar any more than Landon does. That's something for music-video fans to cheer about. But that wouldn't matter at all if she weren't also a ridiculously talented vocalist - capable of chatting her way through a verse before roaring into a gigantic rock chorus. "Only 20" begins conversationally, casually; before you know it, Landon is singing at the top of her voice with all the assurance of a megaplatinum pop star. Comparisons to Shirley Manson are more than warranted, especially since Landon, like Manson, has a sharp tongue, a wicked and self-deprecating sense of humor, and sufficient lungpower to match the heavy wattage of her group.

That's because Landon is much more than a one-woman show. The Landon Band is a skilled and clever outfit, drawing rhythms from rap and industrial music, sounds from electro, trip-hop, and the top of the charts, and a stance and strut from hard rock. It's the band that gives "Only 20" much of its jagged edge - these guys can match wits with their frontwoman and throw down as ferociously as she can. They know their Nine Inch Nails records, for sure, but they can also match Landon's witty L.A. storytelling with straight-ahead Aerosmith-style heavy rock. Later this month, they'll be matching riffs with The Plain White T's at a show in Hawaii; until then, you can catch them on Southern California stages, knocking the beautiful people dead.

And that is, more or less, what "Only 20" is about - the narrator is a sexy young woman (based on Landon herself, perhaps?) who is a year shy of drinking age and restless. In Justin Janowitz's provocative clip, Landon's character wakes up in a typical Southern California flat, gets dressed and hits the dark freeway; the world around her seems trippy, choppy, she's half-awake, imperiled, and beleaguered. Once, she's in the club and onstage, though, everything changes: she's in total control, teasing the audience and her bandmates, and radiating charisma. Toward the end of the clip, the pace of Janowitz's editing becomes frantic - images of the Landon band in action speed by in a blur. Before long, the viewer realizes that we're hurtling backward through still shots we've already seen; the clip concludes with an image of the same alarm clock that roused Landon at the beginning of the song.

Here, Landon is dressed as a paramilitary band in action; Landon herself wears a button-up uniform, a short skirt to match, and some very guerrilla-chic red boots. As in the "Only 20" clip, the musicians look like they're having a hoot: the Landon guitarist stalks around the desert in fatigues, the drummer takes his "combat" cigarette to the kit, and the frontwoman gets to gleefully stab the backs and snap the necks of her opponents. "Intelligence is the best weapon", she sings, echoing the line in "Only 20" when she explains that because of her appearance, people tend to underestimate her cleverness. Not for long.

Liars have always believed in the power of music video; the enhanced version of Drum's Not Dead came bundled with three different filmed interpretations of the entire album. For "Plaster Casts Of Everything", the trio have collaborated with one of the best in the business - Patrick Daughters, the tough-minded auteur behind the clip for "Maps" by the Yeah Yeah Yeahs. His spot for "Plaster Casts" is a twisted late-night hallucination, and a study in disorientation. A young man drives a car on a black highway; as the vehicle gathers speed and teeters on the brink of control, he looks suitably terrified. Suddenly, there are two of him in the same seat - a shot of another person has been superimposed over him. His "face" moves in two directions at once, and it's impossible to tell whether he's laughing or crying. His mouth falls open, and white light pours out of it and through the windshield; he's turned into a kind of film projector, and a ghostly image of an old woman appears on the road. A passenger appears next to him; "she", too, is an amalgam of two different people, one comforting and the other terrifying. The car scatters a group, and they run wildly for the shoulders of the road. This is a world of spectral beings, transparent and without substance, drifting through each other and frightening everything they encounter.

Lola Ray was signed to Good Charlotte's record label DC Flag and opened for the band on a nation-wide tour. Their music video for their first single, "Automatic Girl" found airplay on the Fuse and MTv2 rotations. It was also used on the EA Sports' NHL 2005 video game.

In 2006 Lola Ray released their second album, Liars, through Red Int/Red Ink. They have replaced Smolinski and McIvor and continue to tour.