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Outside of a silence = death T-shirt, widescreen politics have never been a strong suit of this gravel-voiced vet of such indie-circuit scene-definers as Live Skull and Come. Which might explain her ham-fisted, Bush-is-a-Christian-who- lies album title.

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Yes, it sounds cocky to call your band Young Knives, and the British trio's caffeinated, smart-ass guitar pop only underscores that aura of snarky confidence. Listen more closely, however, and an edge of raging despair comes through loud and clear.

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Francophile electro-pop completists (both of 'em) might roll their eyes with been-there-done- that ennui, but no matter: The rest of us can still thrill to the handclaps-and-Casio panache of Pop-Up, which, in its digital-only version, has been passed around for months like an intercepted mash note. The CD release adds a remix of dance-floor manifesto "A Cause Des Garcons" (a.k.a.

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First released in her native Sweden in 2005 and resequenced with subsequent singles, this blog-celebrated bonanza of multiflavored synth bubblegum signals the second coming of a pioneering '90s teen popper.

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From the Rolling Stones to Lady Sovereign, a handful of gifted Brits have brought interesting personal twists to African-American music, though many more have settled for weak mimicry. On his third solo album, Jamie Lidell occupies a tantalizing zone between originality and copycatting.

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Despite reuniting the band with guitarist and cofounder Marcos Curiel (who split in 2003), P.O.D.'s seventh album rehashes the same slickly metallic, middle-of-the-road rap-rock sound that defined the band's later, post-Curiel years.