By Paul V.

Singled Out

Pearl Jam -- Worldwide Suicide -- J Records

As we're on the brink of a nuclear war because of the a-hole in the White House, thank your lucky stars for the outspoken Pearl Jam. This blistering single from Seattle's finest is their fiercest track in ages, and who can resist a catchy and blistering bitch-slap aimed straight at Bush?

Placebo -- Meds -- Astralwerks

Placebo is one of those bands that people either love or hate. Folks seem to dig the tunes but can't get past singer Brian Molko's nasally delivery. He sure is the cutest bisexual in rock and roll though. Serious radio play in America has eluded them, but their fifth album seems poised to change that. If you know Placebo's sound, this record won't throw any major curves at you—it's their trademark stew of fuzzy, sometimes Gothy, sometimes glammy swirl of guitars and heavy beats—but they do sound more confident here. The result is a molten, souped-up raw roar of a record, yet Placebo's most melodic, confident collection to date. Lyrically, Molko weaves thematic tales—of fragile souls freaking out because they've forgotten to take their pills (the menacing, unnerving “Meds,” which features VV of The Kills), the bleary-eyed shame of the bathroom mirror after a narcotic comedown (“Cold Light Of Morning”), of “your friends who are making extremely bad lifestyle choices” (“Song To Say Goodbye”), a tender, thoughtful ballad (“Follow The Cops Back Home”), and mysterious, haunting soundscapes (“Space Monkey”). As much as the harder edged tracks get inside your brain, the choice ballads here really get under your skin, namely the majestic “Pierrot The Clown.” Just to up the band's queer factor, listen for Michael Stipe on the almost-creepy but thoroughly invigorating “Broken Promise,” and be sure to check out the very infectious “Infra-Red” and “Post-Blue.”

Secret Machines -- Ten Silver Drops -- Reprise

The best band out of Texas in ages, Secret Machines are here to take you on a trip, and while this tasty trio isn't exactly what you'd call a “stoner rock” band, they absolutely deliver grand, epic, sweeping and heady psych-rock, perfect for a late-night buzz. With only eight songs (the shortest clocking in at five minutes), Secret Machines pack as much atmosphere and rhythmic single-mindedness they can into each song, usually at the same time. Think of them as the masters of the miniature opus. The true highlight of the album is “Lightning Blue Eyes,” with its achingly beautiful vocal melody, culminating in an absolutely stunning hummed final chorus. Other standouts include “Faded Lines” (superb guitar riff and hit-potential chorus), and the melancholic “1,000 Seconds,” which closes the disc, showcasing Josh Garza's typically harrowing drumming and a vocal turn from singer Brandon Curtis that's ostensibly sweet and wistful yet downright bloodcurdling. The band's been compared to Led Zeppelin (usually because of Garza's John Bonham largess drum sound), and the hypnotic “I Hate Pretending” won't change that—it sounds a bit like Zep's “Kashmir” taking its own acid tabs. And the “Daddy's In The Doldrums” riff is copped straight from the lumbering “funk” section of Pink Floyd's “Echoes.” With shades or U2, Queens Of The Stone Age, and The Flaming Lips, this secret will be told now: this fantastic record will end up on many Top 10 lists for 2006.

People In Planes -- As Far As The Eye Can See -- Wind-Up

Let me get something out of the way—these guys are going to be compared to Radiohead and Muse. But it's best to accept this and move on, and when you do, you'll hear one of the most exciting and bona-fide exhilarating rock debuts in a long time. There's definitely some Thom Yorke-esque homage and vocal delivery here, but make no mistake, this album's got plenty of distinction—a few interludes, odd electronic sounds, and complex layering and harmonies—that defy imitation. The Wales-based rock outfit layers blossoming guitar parts and arch vocals with a defiantly bigger-is-better attitude—art-rock grooves that are classic-sounding and catchy, and on occasion, sensational. First single “If You Talk Too Much (My Head Will Explode)” is a first-listen smash, a near-perfect jingle-jangle allegory of a soured relationship. Breaking up never sounded so, well—hot. On the trip-hop-inspired “Rush,” the quintet cleverly balances their experimental leanings with melodic chops, and the constantly shifting mood, tempo, and style of “Token Trapped Woman” weaves a thoughtful web around a tightly wrapped four-minute jam. It should be noted that singer Gareth Jones really stands out as the star/anchor of the band, unleashing a powerful but vulnerable resonance (unleashing it on the nearly funked-out “Black Widow,” the horn-laden “Penny,” and the towering ballad, “Fire”). If the glut of garage rock slash punk-funk bands out there is getting a little tedious for you, then People In Planes might make for a nice red-eye diversion. It's a first-class effort with no baggage or security check.

Catch Paul V. spinning tunes in Silver Lake: Dragstrip 66 (second Sat. each month at The Echo), Spit (third Sat. each month at Faultline), and “TVOD” Wed. at Faultline. Tune in for his “Smash Mix” on Indie 103.1 FM Fridays at 5:30 p.m. For more information, visit www.dragstrip66.com.