The Night Has Eyes (Garganta Press). Review by Peter Lindblad.

How do you quantify a band performing an album that’s been a favorite for a quarter century? Ian Koss makes an attempt.

The Ghoulies from Perth, Australia look like regular blokes caught out grocery shopping, but the sound they make is an urgent, insistent punk rock howl with a frenetic keyboard bubbling through.

Viagra Boys don’t care what you think… there’s plenty of room for a saxophone and John Prine covers in the backseat of a 21st century punk band.

Sneaks uses electronic layers and a disaffected delivery to create something that lives in the past and in the future and only circumstantially in the present.

It’s easy to suspect Ray LaMontagne came from a recently unearthed time capsule documenting the folkie scene of half a century ago.

Spencer Plays The Hits (In The Red). Review by Julius C. Lacking.

May Terry heads to Prospect Park for a musical speed date with Wild Flag that leaves the taste of six degrees of Riot Grrl in her mouth.

Mirror Traffic (Matador). Review by Eli Didier.

American Gong (Kill Rock Stars). Review by Rose Petralia.

Real Emotional Trash (Matador). Review by Rose Petralia.

Forbi Fabriken (Novoton). Review by Aaron Shaul.

The Woods (Sub Pop). Review by Aaron Shaul.

Last Boat (Up). Review by Aaron Shaul.

Today Is the Day EP (Matador). Review by Eric J. Iannelli.

Frankenixon (Bi-Fi). Review by Anton Warner.

The Mates of State aim to become the Captain and Tennille of indie-pop. Christopher R. Weingarten tries to find out if love can keep these musical and matrimonial partners together.

The Name Rings a Bell That Drowns out Your Voice (In ,Music We Trust). Review by Eric J. Iannelli.

Our Constant Concern (Polyvinyl). Review by Ian Koss.

The Sword of God (Touch And Go). Review by Ian Koss.