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The English ladies of Electrelane do angelic and droney equally well, but it's when they combine the two into a simmering twee-pop/kraut-rock stew that slight pleasures become tiny triumphs.

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You can understand why Kenna wants people to see his face: New Sacred Cow, this Ethiopian-born synth-hop savant's inventive 2003 debut, won him buckets of buzz but didn't make him the household name his record label and producer (the Neptunes' Chad Hugo) were hoping for.

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The pastorale LP is a rock'n'roll tradition. It's what happens when a band -- motivated by tinnitus, bankruptcy, drug-crazed meltdowns, or merely an aesthetic conversion -- strips things down to the gentle, the pretty, the chillin'-by-the-fishin'-hole-with-my-Martin-D50-acoustic-which-incidently-is-worth-ten-times-what-you-paid-for-your-car.

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Not merely the most confrontational, catchy, and guitar-heavy music of Tori Amos' career, this abrupt about-face from 2005's sedate The Beekeeper is arguably the singer/pianist's greatest, and undeniably sexiest, album.

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It takes a brave woman to second-guess Timbaland. Or a foolish one. Or Björk. Word that the Icelandic iconoclast had retwiddled the results of her in-studio tryst with Mr. Mosely dashed any hopes that she'd abandon herself to horny megapop escapism. And Volta's amazing opener, "Earth Intruders," dispels any doubts about the strength of her arty instincts.

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Jens Moelle and Ismail Tuefekci may be German, but the tracks they make as Digitalism slot right in with the recent wave of Parisian house music for headbangers.