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The Quin twins' new-wave pop hooks are stronger than ever on their fifth (fourth in the U.S.) album, as the Calgary duo relocates to Portland to work with Death Cab for Cutie producer Chris Walla and the formidable rhythm section of Death Cab drummer Jason McGerr and bassists Hunter Burgan (AFI) and Matt Sharp (the Rentals).

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Judging from his album titles, Ulrich Schnauss always seems to be leaving or long gone. The sounds matched the sentiment on the Berliner's first two releases, 2001's Far Away Trains Passing By and 2003's A Strangely Isolated Place -- gracefully melancholic electronica with too much soul to be relegated to sushi-restaurant background music.

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Midway through the sessions for a solo album, Neil Finn rang up some old mates.

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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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This loose, inspired collaboration between German electronic duo Jan St. Werner and Andi Toma of Mouse on Mars and terminally cranky Mancunian Mark E. Smith should have been the new Fall album.

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This multimedia assault, though high on concept, is the most suc-cessful representation yet of Gang Gang Dance's kaleidoscopic, neo-primitive, post-punk clamor. Keyboardist and visual artist Brian DeGraw assembled the 24-minute CD and half-hour DVD from shows, soundchecks, practice tapes, field recordings, live video, tour footage, and newly shot abstract vignettes.