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French pop rockers tend to have an effortless melodic gift, and that's the case with Xavier Boyer, leader of Parisian group Tahiti 80.

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Though still youthfully rabid at three albums old, these Houston miscreants easily could've sprung from the late-'80s pigfuck scene (Killdozer, Scratch Acid, Big Black). Thankfully, their tunes -- lumbering, treble-scarred shit-fits that are equal parts the Birthday Party and Fun House-era Stooges -- pack greater oomph than nostalgia acts usually manage.

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When Guy-Manuel de Homem-Christo and Thomas Bangalter dropped their substandard Human After All three years ago, Daft Punk seemed destined to join the ranks of '90s electronic acts whose sales shrank with the dot-com bust.

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When Daft Punk's alien ghetto blast "Da Funk" touched down at a Texas rave in the late '90s, there wasn't an X Files-level conspiracy panic, but the ground was irreparably shaken for drummer/ keyboardist/producer Thomas Turner.

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Michael Stipe hates false advertising -- he opens R.E.M.'s first concert album with the assertion "I don't wanna be Iggy Pop" ("I Took Your Name"). And Live attests that their rock has always been about composure, not raw power. Its 22 tracks are steady and regal, so pitch-perfect that they're often indistinguishable from the studio counterparts.

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Back before emo was, you know, emo™, Wisconsin's Promise Ring was the form's late-'90s standard-bearer. Singer Davey von Bohlen and bassist Dan Didier's subsequent band, Maritime, has had a harder time finding its footing, perhaps because 30-year-olds get sensitive about different things than 20-year-olds.