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So, the inevitable finally happened. Those who have followed the life of System of a Down and its lead vocalist and lyricist Serj Tankian have wondered for years when he would finally issue his debut offering. Tankian, whose political and aesthetic activity keep him wildly busy, has become an identity that cannot be contained by the trappings of a band. System’s 2005 two-part offering Mezmerize/Hypnotize, produced by Rick Rubin, was a creative high point and perhaps a pinnacle for a band whose individual members had different directions they needed to explore outside that collective. These guys did it right; they came up from the underground. They started with a well-circulated three-song demo — it reached Australia and New Zealand 
On a first listen to Kate Nash’s debut Made of Bricks, it’s easy to hear the similarities to her contemporaries (Lily Allen, the Streets, Amy Winehouse) and influences (Björk, Robbie Williams). Her most popular songs are both intimate and confrontational, using brief portraits and slang-conversational vocals to illustrate the larger issues going on — the dinner party that exposes a crumbling relationship on “Foundations” or the futility of using “Mouthwash” as a defense against feelings of low self-worth. The music is explosive and sample-driven, but with plenty of ties to contemporary pop, such as the frequent piano runs and occasional chamber brass or woodwinds. Spend time with this album, however, and Nash is revealed as much more than the sum of her parts. First, she’s an excellent songwriter who illustrates her tales of romantic woe and inadequacies with grace and many subtleties. (It’s easy to see 
With each album since Melody of Certain Damaged Lemons, Blonde Redhead has made huge strides forward with their sound. Misery Is a Butterfly pitted fragile melodies against dark, swirling arrangements, and its tragic glamour turned the album into a cult favorite. On 23, the band trades the cloistered chamber rock of Butterfly for tone-bending dream pop and subtle electronics; while the wide open spaces sound a little bare at first, this streamlined approach ends up making this Blonde Redhead’s loveliest and most accessible work yet. The group begins each album with a bold statement of purpose, and 23 is no different. 
Eddie Vedder’s Into the Wild is a collection of nine original songs and two covers for Sean Penn’s film of the same name, based on Jon Krakauer’s novel. The novel and film are concerned with the short life of Christopher J. McCandless, an honor student and athlete who literally walked away from his life, donated his 24,000 dollars in savings to Oxfam, and left what he perceived to be a sick society behind. He stepped into the hinterlands of Alaska and never returned. He eventually died of starvation. Penn handpicked Vedder to score the project. Vedder in turn came up with this collection of folksy, rootsy tunes where rock & roll makes fleeting appearances (most notably on the opener, “Setting Forth,” and the first single, “Hard Sun”). It’s a true solo project in that he played virtually everything on the set, and had help in only two places, 
Choosing a new direction is a hard and serious business for any band, but perhaps more so for listeners, who, for better or worse, have grown to expect a certain mood and style from their favorite artists. Regeneration, the Divine Comedy’s first album for Parlophone Records, finds Neil Hannon and company parting ways with the playful, coquettish songs of Casanova and Fin de Siècle and taking a serious look at the duality of “town” and “country.” Many bands have tackled the subject of the “haves and have-nots,” and that may be a bit of a problem here, as both Pulp and the Divine Comedy themselves have done a much better job of illustrating the point than songs like “Lost Property” or “Bad Ambassador.” By shedding the smirking artifice that served Casanova so well and hiring producer Nigel Godrich, the Divine Comedy may be treading dangerously close to the sounds of countrymen Radiohead, 
Miley Cyrus: Breakout