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For their third album, and first in five years, Chicago-based electro poppers Joshua Eustis and Charlie Cooper nod to recent "new disco" (Lindstrøm, Lifelike & Kris Menace) and "neo-trance" (Booka Shade, Mobilee crew) styles. But at heart, the twosome are still laptop experimentalists.

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This Aussie singer-songwriter's steadfast refusal to keep churning out wistful, romantic guitar pop may be admirable, but on his seventh full-length, it's painful to endure.

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Benjy Ferree either worships Jack White or just happens to interpret remarkably similar influences -- Queen, Zeppelin, T. Rex, Delta blues -- in remarkably similar ways. On the D.C. rocker's second album, the sonic parallels (especially in the vocals) are almost jarring.

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What's good for our heroes isn't always good for us. Dylan found God and lost the lyrical plot. Prince scrubbed "slave" from his face and followed his purple muse down the rabbit hole. Bruce Springsteen?

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On his past three albums, Ben Kweller timidly hinted at his alt-country side, but here he really lets his belt buckle show. The Texas native trots through hymnlike hootenannies ("Fight") and honky-tonk ditties heavy with slide guitar and choogling piano ("Old Hat"), and on the decade-old "Ballad of Wendy Baker," he even tackles the death of a high-school classmate.