One of the first Next Big Things of 2002, Sweden's The Hives follow last year's media darlings The Strokes and The White Stripes in bringing the rock back to alternative rock. The only catch is that the band has been around for over a decade, with this particular album actually dating back to 2000, when it gained a limited U.S. release on a tiny Epitaph imprint. However, the Swedes were able to benefit from the rush to capitalize on the neo-garage/punk-rock movement by scoring a major label deal in early 2002 and a rerelease of this, their second full-length. (They've got The Strokes beat on length, though, managing to release an even shorter album, at just 27 minutes.)

The Boys' eighth studio release features features Johnny Marr on guitar.

The former Bauhaus member returns with his first solo album in six years, which sees him adding traditional Middle Eastern instrumentation to the mix and moving in a more ambient direction.

The third studio album for the heralded British band features 13 new self-produced tracks.

Luna's sixth studio album is their first on new label Jetset, and also their first (aside from Luna Live!) to feature Brita Phillips on bass (replacing Justin Harwood, and leaving Dean Wareham as the sole founding member remaining). The all-star production team of Gene Holder and Dave Fridmann were behind the boards for these 12 new tracks.

Instead of a real follow-up to "The Hour of Bewliderbeast" (look for that later in 2002), Damon Gough returns with the score to the film adaptation of the Nick Hornby novel. The 16 new tracks here are split between short instrumental pieces and full songs.

Costello's first album of original material in six years is a return to his new wave/punk/rock roots, with several members of The Attractions (Steve Nieve, Pete Thomas) in tow.

The former Replacements leader returns with his first solo effort in three years, which actually is two albums in one: Stereo, his new 12-track solo release; and Mono, a second recording by Westerberg and full band under the Grandpaboy name.

The long wait for this fourth album from Jeff Tweedy & co. is partially the result of the tumultuous recording process that left the band without its guitarist (Jay Bennett) and its record label (Warner/Reprise). Fellow Chicagoan Jim O'Rourke mixed the 11 tracks.

The fourth album from the Milwaukee emo band is their first with veteran producer Stephen Street, who gives the album a more expansive sound.

This covers album from the former American Music Club leader includes versions of songs by everyone from Culture Club ("Do You Really Want To Hurt Me?") to Glen Campbell ("Gentle on My Mind").

This long-awaited fourth album from the London-based outfit headed by Tjinder Singh and Ben Ayres is an even more eclectic mix of styles than previous efforts. The 13 new tracks include the excellent (and excellently titled) lead single "Lessons Learned From Rocky I to Rocky III," and a reworking of "People Power (In The Disco Hour)" from Singh and Ayres' Clinton side project.

The third album from the Chicago-based post-rock trio best known for their dual bassists was produced by John McEntire (Tortoise, Sea and Cake).

Christian-indie rocker David Bazan follows 2000's 'Winners Never Quit' with this full-length album. This time out, Casey Foubert (Seldom) lends a hand with the instrumentation.

This debut album from the Richmond, Virginia band (featuring Maura Davis and members of Engine Down) was produced in part by Sparklehorse's Mark Linkous.

Scottish composer Craig Armstrong has provided his arranging and writing talents to numerous film soundtracks (including Moulin Rouge) and albums by the likes of Massive Attack and Madonna. This is his third solo album, and features guest appearances by Evan Dando, Mogwai, Bono, and Photek.

The second mix album from Irish DJ/recording artist/film composer David Holmes weaves together obscure soul tracks from the 60s and 70s with short instrumental bits composed by Holmes (under his Free Association moniker).

Sheryl Crow's fourth album features guest appearances from Emmylou Harris, Don Henley, Lenny Kravitz, Liz Phair and Stevie Nicks.

Bonnie Raitt's first new album in four years was produced by Mitchell Froom and Tchad Blake.

This is the third album for the San Francisco band featuring drummer Lynn Perko and former Faith No More keyboardist Roddy Bottum.

Although the 20-something New York City rockers have the names of two former Can vocalists in their moniker, their sound is more frequently compared to the MC5. 'Electric Sweat,' their second album, attracted a good deal of attention for the band from music publications in the U.S., drawing the now-mandatory Strokes comparisons.

The mellow indie-pop duo (Maria Taylor and Orenda Fink, both former members of Bright Eyes) returned to the studio with producer Eric Bachmann (Archers of Loaf) to record this sophomore LP. Fink and Taylor also lend their vocals to a track on Moby's latest, '18.'

The New York-based experimental jazz trio expands its sound on this album by adding turntablists DJ P Love and DJ Olive and a five-piece horn section.

Believe it or not, these guys have been around for over 15 years now, and this is their eighth release (and first since 1998's 'Dizzy Up The Girl').

The Seattle-based emo trio (although now without one-time member James Bertram of Red Stars Theory) moves to Tiger Style Records for this, their fourth full-length release. Phil Ek (Unwound, Built To Spill) produced these 10 tracks.

The New York trio is back with their fifth album for Matador (and first since 1998). Here, they work with veteran rock producer Steve Jordan and get some help from Bernie Worrell and Dr. John.

This mellow, soulful effort features backing from Booker T & the MG's as well as a single track with Crazy Horse.

This is the Cincinnati, Ohio band's major label debut.

The third and final album by the current lineup of this Chicago-based indie band (band member and Aesthetics label head Ken Dyber is leaving the group) includes 10 new tracks, featuring the alternating male/female vocals of Joseph Costa and Lindsay Anderson alongside the band's moody, haunting sound.

The former backup singer for Missy Elliott and Timbaland comes into her own on this, her debut album, which was produced and co-written by her two benefactors. Tweet's presence and talent are evidenced by the surprising abundance of guitar/soul tracks here, instead of a reliance on electronic/dance numbers typical of a Missy-Timbaland production.

Kinky is a five-piece band from Monterrey, Mexico that combines rock, electronica, and traditional Latin music. This debut album was produced by Chris Allison (Coldplay, Beta Band).

This big-budget debut album from 22-year-old Detroit-raised rocker Andrew WK took the UK (well, at least its music press) by storm in late 2001.

Jack Dangers recorded this brief album under his own name (rather than as Meat Beat Manifesto) as part of the "Series 7" collection of albums, which require artists to record seven songs in a period of seven days.

The popular German trance DJ offers up his first set of original songs, featuring guest vocals by the likes of Kelis and Finley Quaye.

This third album for the Jersey City rockers (who come across a bit like an emo Tenacious D) was produced by Steve Albini.

Picked up by Emperor Norton for distribution in the U.S., this new wave-meets-eurodisco-meets-house disc features the programming talents of The Hacker and accented spoken vocals from Miss Kittin, who also appears on the recent Felix Da Housecat LP. Clubgoers may recognize the track "Frank Sinatra," which attracted some attention when released as a single in 1997.

Playgroup is the brainchild of producer/designer Trevor Jackson, who has remixed artists such as Massive Attack, U2, and Death In Vegas. On this eponymous debut, a variety of guests from the hip-hop and indie music worlds (Kathleen Hanna, Shinehead, Edwyn Collins, KC Flightt, Roddy Frame, Rowetta) lends vocals to the twelve eclectic tracks, including a cover of Paul Simon's "50 Ways To Leave Your Lover."

This is the third solo album (and first since 1996) for neo-soul singer Joi Gilliam.

This is the fifth album (and a return to English-lanugage songs) for the well-regarded Welsh indie band, now signed to a major label (Epic). It is the first album ever to be released simultaneously on DVD and CD (with the DVD containing a movie and a remix for each track on the album). Paul McCartney and John Cale have cameo appearances on the album.

As you may have guessed from the title, this is an album of covers by Howe Gelb, mainly recorded with Calexico's Joey Burns and John Convertino. The ten studio tracks and three live performances include versions of Sonny Bono's "The Beat Goes On," Grandaddy's "Blue Marble Girl," and Black Sabbath's "Iron Man."

Three years after the industrial band's farewell album 'Adios,' founding member Sascha Konietzko is back recording under the KMFDM name, although just as on last year's album under the MDFMK moniker, co-founder En Esch is no longer with the group.

This is the fourth Ninja Tune release for the innovative London-based hip-hop outfit, mixing somewhat more traditional rap cuts with acid-jazz and trip-hop instrumental pieces.

Kid Loco produced this sophomore effort for London's Departure Lounge, who are fronted by Tim Keegan (a former guitarist with Robyn Hitchcock & The Egyptians). Hitchcock guests on one track, as does former Cocteau Twin (and producer of Departure Lounge's debut) Simon Raymonde.

This is the first new album in three years for the folk-rock duo of Emily Saliers and Amy Ray.

Based in Los Angeles, the Eels have had some stateside success on MTV but have perhaps found greater popularity in the UK and Europe. This new LP (their fourth) features guest appearances by Koool G Murder, John Parish (who also produces), and Joe Gore.

Toronto-based singer/songwriter Hayden (Paul Hayden Desser) returns to his bedroom-recording indie-label roots, after two previous releases for Geffen.

Indie rock legend Bob Mould (Hüsker Dü, Sugar) returns with his fifth solo album, and first for his brand new record label (Granary Music). In another first, Mould delves into electronica for the first time as well, abandoning traditional instruments for synths and computers on half of the album.

This is the debut album for in-demand hip-hop production duo The Neptunes, recording with Shay under the name N.E.R.D. (for "No One Ever Really Dies"). Note that there are two different versions of this album in circulation. The original version, featuring mainly electronic instrumentation, was intended for release in August 2001 but was shelved by the band (only to be released in the UK over the band's objection). This new version, released March 2002, was completely rerecorded, and features live instrumentation by Minneapolis funk band Spymob.

This is the second studio release for the London-based electronica/rock/funk band. Vocals are handled by a group of guests, including Bootsy Collins and Lisa Millet, following the departure of the group's vocalist Wrekked Train.

The French electronica duo Rinocerose gained notice for their 1999 debut 'Installation Sonore.' This sophomore effort features 12 new tracks of guitar-infused house.

The Buzzcocks are back. Well, almost. Pete Shelley and Howard Devoto, founding members of that seminal punk band, have recorded together for the first time in over 25 years, resulting in these 14 brand-new electronica-laden tracks.

The distinctive Liverpool indie/garage band is back with a follow-up to their well-received 2000 debut 'Internal Wrangler' (which was just released last fall in the U.S.). The positive press generated by these two releases led to the band signing a major-label deal with Universal, which re-released 'Walking With Thee' on August 6, 2002.

This is the third studio recording for the Seattle-based outfit founded by members of indiepop forefathers Crayon. Ex-Sno*Boy guitarist Harold Hollingsworth has been added to the group's lineup.

This is the first album in over three years (and first for new US label Emperor Norton) for the all-girl Japanese indie-electronic-rock-pop outfit. Money Mark and John McEntire make appearances here, although Cornelius does not.

Natalie Imbruglia's second album is a follow-up to her 1998 international hit debut, 'Left Of The Middle.' Ian Stanley and Pascal Gabriel are among the producers working on this disc.

With the word "blue" appearing in four out of the seven song titles, you get a general idea of Jason Molina's mood as he recorded this sixth proper LP under the Songs:Ohia name. The entire album was recorded live in a Philadelphia studio with Molina backed by a new full band, including co-vocalists Jennie Benford and Jim Krewson.

A musician since his early childhood, 20-year-old Texan Ben Kweller experienced some minor success with the band Radish in the late 1990s before embarking on a solo career highlighted by 'Sha Sha,' his debut full-length for Dave Matthews' label Ato.

This is the third album for the now-23-year-old singer (and former Cinderella). Rodney Jerkins handles most of the production chores on this 17-track disc.

After recording two well-received albums of Woody Guthrie covers with Wilco, the anti-folk pioneer returns to recording original material, this time with his touring band, the Blokes.

The second album from the Denver-based indie-pop band features 13 new self-produced tracks. The four-piece outfit includes Tammy Ealom on vocals and Apples In Stereo guitarist John Hill on, well, guitar.

The singer-songwriter's third album (which comes a full five years after her second, 1997's 'Firecracker') features 12 new tracks, including "We Could Still Belong Together" from the "Legally Blonde" soundtrack.

Pop/jazz vocalist and pianist Norah Jones, the daughter of Ravi Shankar, picked up 5 Grammy awards for this debut album, produced by Arif Mardin.

Los Angeles-based Phantom Planet is best known for counting among its members "Rushmore" star Jason Schwartzman and "Donnie Darko" star Alex Greenwald. 'The Guest,' their second album, was produced by Mitchell Froom and Tchad Blake.

Morissette's third studio album is the first one the 27-year-old Canadian songwriter has produced herself.

This disc collects remixes and B-sides (album title notwithstanding) culled from the singles generated by the animated supergroup's international hit debut album. The 9 songs here (totalling just 38 minutes) include two previously unreleased tracks.

This high-energy dance album from the Australian veteran includes the UK hit single "Can't Get You out of My Head." It is her first American release since 1988, although she has retained her popularity in Europe and her native Australia since the 1980's, updating her sound along the way.

The seventh album for the Texas-based rockabilly star and his band features the track "Like a Rocket," selected as this year's official Daytona 500 theme song.

Following the critical success of their 1999 effort, 'Madonna,' the lengthily-named Austin, Texas indie band signed with Interscope and recorded this, their major-label debut.

Hull, England-based production duo Fila Brazillia have gained acclaim for their remixing work (Lamb, The Orb) and string of club-oriented releases which mix trip-hop, breakbeat, house, funk, hip-hop, and drum'n'bass. This studio effort (on the band's own 23 label) follow's last year's mix album 'Another Late Night,' and is their first album to feature vocals, courtesy of Steve Edwards, who sings on four tracks.

'C'mon' is the third full-length release for the experimental Chicago-based instrumental quartet.

Producer Dan "The Automator" Nakamura, a founder and member of acts such as the Gorillaz, Handsome Boy Modeling School, Deltron 3030 and Lovage, here offers his first mix album. Many of the cuts are from his own remixes or productions, and come from bands ranging from Tortoise to the X-ecutioners.

This is the fourth album (and third record label) for the Athens, GA indie outfit.

The Scottish duo finally return with a full-length follow-up to their acclaimed 1998 debut, 'Music Has A Right To Children.'

This ten-track release (officially, an E.P.) contains remixes drawn from the French duo's 2001 album '10,000 Hz. Legend.' There are three versions each of "Don't Be Light," "People In The City," and "How Does It Make You Feel," as well as the previously unreleased "The Way You Look Tonight."

The band that gave us alt-radio hit "6 Underground" returns with a third album, although their second (1999's 'Splinter') failed to secure U.S. distribution. Guitarist Chris Corner now handles lead vocals, replacing the departed Kelli Dayton.

Fog is 23-year-old turntablist Andrew Broder, and this is his debut album, a cut-and-paste mix of various sounds combined with guitar and vocals.

This is the band's second collaboration with French filmmaker Claire Denis, after recording the soundtrack to her earlier film "Nenette et Boni."

Singer/songwriter Josh Rouse's third solo LP was produced by Roger Moutenot.

Procuded by Mo'Wax label head James Lavelle (U.N.K.L.E.), the debut album from London's South mixes electronica and indie rock, drawing comparisons to everyone from the Stone Roses and Happy Mondays to Badly Drawn Boy and DJ Shadow.

The former member of Throwing Muses, Belly, and the Breeders returns with her second solo album, following 1997's 'Lovesongs for Underdogs.'

Kurt Wagner & co. return for the band's sixth album, which is a more stripped-down affair than their previous effort, 'Nixon.'

Australian alt-country singer Kasey Chambers follows her acclaimed 2000 debut ('The Captain') with this sophomore effort. Lucinda Williams guests.

Chris Isaak's eighth album is his first since the disappointing sales of 1998’s 'Speak of the Devil,' but also his first since he took to the small screen in a Showtime comedy series.

The second album from New York City dance-punk outfit Radio 4 utilizes the production work of DFA (U.N.K.L.E., David Holmes) to create a sound reminiscent of Primal Scream's 'XTRMNTR.'

Over two years in the making, 'After Everything' is the twelfth album from the Australian band, still best known for their 1988 hit "Under The Milky Way."