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This duo's tenth album is a masterful blend of electronic genres, pulling from older works like their more ambient 1994 debut, Vulvaland, and gleaning the best from recent forays into glitchy vocal house (2004's Radical Connector).

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Joel Gibb, frontman for this self-described "gay folk church music" band, is the seamy, sex-fueled yang to the ascetic yin of the Magnetic Fields' Stephin Merritt. Backed by a flea-market chamber-pop orchestra and surprisingly danceable beats, he sings about lollipops (yes, it's a metaphor) and "working in the boneyard" (on the album's sunny title track).

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Being a Canadian supergroup has to be tough these days. U.S. passport checks for a dozen-plus band members? Bring a sleeping bag. Kool-Aid jokes implying that your music commune is a cult? Demoralizing. Labatt Blue runs for guest artists, roadies, girlfriends, and merch flacks while on tour? More expensive than you'd think.

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Since ax-wielding, flesh-piercing Norse gods once ruled Scandinavia, it's not surprising that black metal still thrives today. But while the land of the midnight sun has recently spawned a slew of guitar-shredding warlords, rural southwest Sweden has become a breeding ground for gentler beasts.