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Twenty years after the South Bronx/Queensbridge throwdown, KRS-One and Marley Marl have squashed their beef; but the results are cause for only quiet celebration. The fortysomething MC still has his fastball -- both the title track and "Nothin' New" showcase provocative lyrics, original flows, and uninhibited enthusiasm.

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Not to be confused with Field Music, the Field Mice, the Field, or Korn bassist Fieldy, Fields are a British/Icelandic combo that take typically bright pop particles (male/female harmonies, quavering synth lines) and rearrange them into devastating laments.

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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.

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The Sufjan Seal of Approval ought to be indie hard currency, but Stevens can only nudge doors open -- he can't bestow the mellifluous subtlety of his own work on his friends. And with their flaccid, too-cool folk pop, husband-and-wife songwriters Ben and Vesper Stamper squander any love by association they might've earned from their guest banjoist/oboist.

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This all-female trio would like to teach the world to sing in perfect harmony -- though the world they inhabit is akin to that of a Phillip K. Dick novel, where the robots are more real than the humans.

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Dan Deacon may look like Bill Nye the Science Guy, but he's more like Dr. Demento. This one-man A/V club party makes low-budget electronic pop that's as bizarre as it is uproarious. Deacon's first proper album (after several limited releases) tricks out Devo-esque new wave with eight-bit beats, cartoon sound effects, and munchkin-pitched Ludacris quotes.