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For his third album, Quentin "Mr. Oizo" Dupieux rapaciously chops disco classics into two-minute mini-beats ("Positif," "Bruce Willis Is Dead") or debauched club-kid romps ("Two Takes It," with saucy rapper Carmen Castro).

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"Haar" is fog, but not just any old fog; and in the Scottish tradition of rendering plain imagery transcendent, James Yorkston transforms it into something gorgeous, heartbreaking, and poetic. On the singer-songwriter's fourth album, he has the melancholy burr nailed, and fleshes out his spare folk with strings, female voices, and lilting horns.

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There's more talking and singsong vocalization than rapping in these forgotten blues, jazz, gospel, and hillbilly oddities from the 1920s through the 1950s, but the contemporary hip-hop connection couldn't be clearer if there were a T-Pain cameo.

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For instant, painless stress relief, try the debut of this life-affirming trio, brimming with vigorous yet precise acoustic guitars, tinted by the faintest shade of electronics.

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Grindcore guitar, industrial clamor, stentorian rhymes?

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Thanks to Cedric Bixler-Zavala's inability to write lyrics that make any literal sense whatsoever, the burden of bringing narrative coherence to the Mars Volta's interstellar, prog-funk finger paintings falls to the band's pedal-prone guitarist.