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"Please let me help you remember / Your memory's shot / You've lost the plot." That refrain -- from the caustically chiding "Mekon Headman" -- is more than just a finger-jabbing offer of, um, assistance. It captions Wire's clever twist on the career retrospective: Revisit all phases of your career with new material.

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The debut album from this pop-rock duo comes so frontloaded with carbonated keepers (especially the spastic gurgles of "Girls" and liquefied beats of "Forever") that the album's back half can't help but sag.

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Like Liz Phair and Bob Dylan, David Berman is a cunning wordsmith who can't really sing. Also like those luminaries, Berman turns weakness to advantage, serving up toe-tapping short stories in a sing-speak deadpan perfectly suited to his oddly good-natured cynicism.

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With a gazillion ideas snapped together like so many Legos, Ponytail's second album is an exhilarating puzzle. Tracks marked by ringing classic-rock riffs ("Beg Waves," "Small Wevs") vie for space in your brainpan alongside screechy, art-damaged affairs ("Late for School" and "7 Souls"). Presided over by Molly Siegel -- a fiery young Yoko

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Leigh and Chandra Watson first pricked up indie-rock ears when they backed Rilo Kiley's Jenny Lewis on her 2006 solo debut, Rabbit Fur Coat. Their haunting harmonies are in full effect throughout the L.A.-based sister act's first full-length, on which they coo seductively over atmospheric folk-rock arrangements.

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Try and conjure a time when sincerity was the new irony. Powered by assuredly picked banjo, homespun overdubs, and a reedy, authoritative warble that Neil Young cribbed, this collection of startling demos is a vivid snapshot of the folk-music scene at its early-'60s culture-defining moment.