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"They say the definition of madness is doing the same thing and expecting a different result," Howlin' Pelle Almqvist paraphrases Albert Einstein in "Try It Again," one of several new songs that confront a crisis for a band that has boasted "The Hives Are Law, You Are Crime." For despite their cartoony charisma, riffs that evoke and transcend the garage-band boogie

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The emo demographic, not known for surprises, pulled a big one a few years back by going bonkers for this upstate New York band's unapologetic fusion of the aforementioned genre with Rush, Dream Theater, and early Queensrÿche. But on their fourth full-length, Coheed's emo leanings have faded.

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If 2002's A Hundred Days Off proved that Underworld's Karl Hyde and Rick Smith could scale sonic skyscrapers without former bandmate and DJ Darren Emerson, its follow-up is where they relax -- literally. Seven of Oblivion with Bells' 11 cuts feature beats that lope below cooing guitar and/or keyboards, or are submerged into the muted synth-pulse.

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This humble, hazy soundtrack to Sean Penn's film about tramping and tragedy in the American wilderness is probably as close as the Pearl Jam singer will ever come to recording a psych-folk album.

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Craft of the Lost Art is essentially a showcase for the formidable talents of Philly-based producer Jneiro Jarel. Layering handclaps over a whirling dervish of guitars on "OPR8R" and pumping out squelchy glitch-funk for "Lullabanger," he blends hip-hop and electronics with a fresh style reminiscent of Madlib and J Dilla at their abstract best.