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CDs by people behind you in the unemployment line.

"I am a man of impeccable manners," sings Doylestown native Damien DeRose on his recently released second album. He means it semi-facetiously, but there is indeed a distinct politeness to his songwriting, verging on piety, which dovetails neatly with his ho-humble chosen moniker, Peasant. The name's antiquarian/agragarian vibe also jibes with DeRose's exurban roots and his choice of genre: the mellow, solo acoustic indie-pop that's typically called, but isn't precisely, folk. If all this smacks of the ingratiating posturing of meeker-than-thou sincerity — and of course, calling yourself "Peasant" also carries an inevitably fraught intimation of class-based integrity — On The Ground ultimately acquits itself, and admirably, by trumping the complex question of "genuine" with its genuine simplicity. One listen or twenty will do little to distinguish DeRose from similarly-styled songsmiths like Bon Iver, Iron & Wine, and, especially, Jeff Hanson, yet his tender melodies, meditative mournfulness, and gentle, angelic falsetto make these 13 short, sparse slices (few over three minutes) almost lavishly intimate and inviting. Impeccable; to a fault.

—K. Ross Hoffman

More info at myspace.com/peasant.

Haj of Dumhi

Producer Haj of Dumhi is one busy ass person, with his name endlessly attached to projects by poets, singers and rappers. The first two tracks on Flowers are the best. "Come Away" with Flud and Monica has a jazzy, hip-moving mood that reminds me of Q-Tip's latest release. "My Part of Town," featuring Shameless Plug, has an infectious beat and smooth rhymes. Some of the guest artists come close to bringing down the consistency of the album, but overall, from a production standpoint, it's a solid listen.

—Deesha Dyer

Get it for free at dumhi.com.

K-Bar-T

The noise-pop rocked by transplanted midwesterners K-Bar-T walks the wire between gripping and backgroundy. A wash of jagged guitar and a pulsing krautrock beat opens its full-length debut on "Lion in the Street," recalling "Sugarcube"-era Yo La Tengo. The Hoboken heroes are later evoked in the skittery "Parable" and the guitar bop "Wake Up," while the nervy syncopation on "Optimism" leans more solidly towards Malkmus or Brock. While the band certainly makes cool stylistic nods (even if the pronunciation of its name is a bit of a mystery), by the latter half of the set, the wash becomes wallpaper, cracking and peeling to a dense Sonic Youth rumble. If the hooky cuts had been spread out more evenly through the set instead of piling them on so top-heavy, these later moments would have made rousing transitions. As it stands, by the conclusion of Tomorrow Before Today, your once-energized attention will be wandering.

—John Vettese

More info at myspace.com/kbart.

U.City

Formerly known as United Soul, Josh and Aziz are back as U.City with The Fall, which they executively produced and independently released. The duo figured out early that making music for the ladies was the way to go. Their sensual/sexual aura continues with songs like "Skin/Bathtub Luv," and "Senseless." Dave Ghetto comes through and spits a few rhymes on club friendly "Move It," and they drop some motivation and positivity on "Each One." A few notes gets pushed a little too far at times, but love conquers all. Philly soul represent.

—Deesha Dyer

More info at myspace.com/ucitymusic.

Pilot Cloud

Picking up where Hans the Double left off, Philly's Pilot Cloud explore atmospheric sounds, complex structures and the awesome power of the distortion pedal. Bandmates Justin Lerner and Nick Bascardi, late of Hans, developed their old group from Hum-esque overdrive rock to smartly-constructed networks of sound. Their new project takes this concluding thought and retreats from the stage lights, allowing heady compositions to slowly gestate in a post-rock swell: think Tortoise or Mogwai. On moments like shuffling opener "Leaf," Lerner and Bascardi's vocals act as another instrument, working alongside plucked bass and upper-register guitar arpeggios to mount a forceful assault. With a defined verse and chorus, the rice cymbal sway on "Map" functions in a more traditional manner. If we're to assume that the titular transition refers to continued tinkering, Pilot Cloud would be advised to linger just a bit longer, delivering a tasty mix of convention and abstraction.

—John Vettese

Get it for free at pilotcloud.com.