Before This Winter Ends (Self Released). Review by Carl F Gauze.

Agony & Irony (Epic). Review by Jen Cray.

1985-1987 (Smooch Records). Review by Matthew Moyer.

Editors remind Orlando audiences that it was the UK that birthed their brand of darkly deep indie rock. Jen Cray couldn’t help but wonder if they were ripping off Joy Division, or Interpol’s interpretation of Joy Division.

In the Marshes (Words on Music). Review by Aaron Shaul.

Calenture (Domino). Review by Sean Slone.

Conviction (Victory). Review by Jen Cray.

Our Love to Admire (Capitol). Review by Jen Cray.

Ultra Payloaded (Columbia). Review by Jen Cray.

Tatterdemalion (Stonegarden Records). Review by Sean Slone.

Sins (Novoton). Review by Aaron Shaul.

Melody Mountain (Rune Grammofon). Review by Aaron Shaul.

Lion The Girl (New Line). Review by Jen Cray.

Before the Design Republic, before even 4AD’s Vaughan Oliver / v23, there was Peter Saville and Factory Records. The history of music and design is filled with intersections, and Matthew Moyer considers none to be as seminal as this.

She Wants Revenge (Geffen/Flawless Records). Review by Matthew Moyer.

The Lights Went Up (Scenery). Review by Aaron Shaul.

New York’s Night Kills The Day draw influence from bands like Depeche Mode, the Cure and Pink Floyd. Their debut full length release, The Study of Man… And the Developed Shadow, is set for a March 2007 release on Score Records. Jen Cray spoke with bassist Timothy Falzone about his band that appears to be sitting on the doorstep of success.

Monument to the Masses (Virgin). Review by Jen Cray.

Bloc Party cancelled the rest of their US tour opening for Panic! At The Disco after drummer Matt Tong was hospitalized for treatment of a collapsed lung. Jen Cray managed to catch the band’s Orlando show, the night before the medical trauma.

Entomology (Domino). Review by Rob Levy.