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This garage-friendly Birmingham, Alabama quartet shamelessly recycle familiar ideas and riffs, reveling in the boozy swagger favored by every uncouth band since prehistory.

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Cazals' debut zips by like the greatest-hits set of a snappy '80s new-wave band, as if the Brit quintet were afraid of overstaying their welcome. Wrapped in bright guitars and slick synths, every track boasts an arresting touch -- a rude bass line here, a cool vocoder there -- as stylishly hoarse singer Phil Bush struggles to convey a depth of feeling the glib material can't support.

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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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Having recorded more than 9,000 albums since the start of the decade -- okay, that's a slight exaggeration -- Vermont residents Matt Valentine and Erika Elder exhibit signs of creeping dementia on Drone Trailer. With his piercing whine and wheezy harmonica, Valentine suggests a damaged, decomposing clone of acoustic Neil Young.

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If you still get a tingle from the electro pop theatrics of Gary Numan or Ultravox, say hello to Late of the Pier. The quartet's fervent debut, produced by DJ Erol Alkan, offers a fabulous simulation of '80s new wave, with burping, sputtering synths and sleazy, Bowie-inspired crooning from frontman Sam Eastgate.

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Their sound is a fizzy old-style brew of hard rock, psychedelia, and pop punk. Sometimes they nod to the Doors, and the drummer is clearly obsessed with Keith Moon. But don't call these noisy Swedes a nostalgia act.