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JUSTIN BIEBER FEATURING LUDACRIS

Justin Bieber

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More About

• Ludacris
• Justin Bieber
• Evanescence
• Carlie Smithson
• Amy Lee

Not quite legal flash-in-the-pan/Twitter-trending-topic makes splash that's at the very least more refreshing than the Coke Zero you just cracked open, even if he's too young for the heartbreak he's working so hard to sell. Also, for whatever it's worth in 2010: Luda!

"Shut It Down"

Post-adolescent/pre-crow's-feet lasses tarting up for a night out, fear not—classily, or more along the lines of what Ke$ha describes in "Tik-Tok"—Drake and Dream are holding you down this prom season. Just keep in mind that somewhere, at the very moment you're slipping on your heels, a track-mark-pocked exotic dancer is oh-so-slowly peeling off a g-string as Drake silkily sets the scene: "Put that fucking dress on, and work it kinda vicious/Like somebody's taking pictures."

"Live at the Red Cat"

An avalanche of fever-dream seethe, panicked egress samples, and glow-in-the-dark horror chords gives way, over 16 epic minutes, to a series of inferred insights and revelations; this is the L.A. duo's live score to Aenteni, but it's a cinematic adventure in its own right.

"So Good"

Yup, they're back. This ominous, outta-sight backpacker rap from outer space stuns, but isn't even remotely indicative of what the rest of Revolutions Per Minute sounds like.

"Bury Me Alive"

If that one multi-plat Evanescence self-titled disc (Fallen) held you down back in the day, then move along, lil' doggies: nothing to see here. This is kind of like 10,000 Maniacs, minus Natalie but still a going concern, except these kids coughed up a new name. It's worth noting that Carlie Smithson's accent—one second it's notably Scottish, then untraceably American, then Scot again—arguably makes her more discomfiting a front woman than Amy Lee ever was.