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London rapper/producer Dizzee Rascal went from upstart Boy in da Corner to Showtime sensation over the course of his first two albums, carrying the standard for the bellicose, breakbeat-based U.K. grime scene.

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Era Vulgaris represents Queens of the Stone Age's most hallucinatory album since 2000's Rated R.

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Ryan Adams has indulged his every artistic impulse: In 2005, the former Whiskeytown frontman released three studio albums (including one double-disc set), and last year he posted on his website more than a dozen CDs' worth of goofy hip-hop and crusty punk rock under a variety of pseudonyms.

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When I first saw Pelican live in their hometown of Chicago a few years back, they sounded, well, young: The quartet's instrumentals guilelessly ventured from futuristic neo-metal à la Voivod to ominous, Neurosis-like art-doom to the high-prog constructions of King Crimson. Why?

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With her classical training and background performing with the Boston University Symphony Orchestra, violinist Joan Wasser has a tight grip on the harmonies, rhythms, and ecstatic repetitions that conservatory types love. On her group's debut album (featuring guests Joseph Arthur and Antony Hegarty), the singer/songwriter composes chamber-pop tunes that burrow, sweep, and swing.

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Arch, affected, and just a little bit sharp, Bryan Ferry's singing was as shocking and influential in the 1970s as Bob Dylan's visionary wheeze had been a decade earlier. When the Roxy Music frontman recorded the protest anthem "A Hard Rain's A-Gonna Fall" in 1973, the collision of style and content felt more like farce than tribute.