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DJ/producer Andrew Butler mixes the poetic Apollonian aspects of queer culture with the Dionysian party represented by left-field disco and hypnotic early house, and crafts an unsettling masterpiece that yearns and churns and ultimately pulls the rug from under your dancing feet.

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As one of the few '90s alt-rock survivors still flaunting their weirdness while going platinum, Weezer understand conflicting demands: The fans want another nakedly personal Pinkerton, while the suits keep craving the pop that packed 1994's Weezer, a.k.a. the "Blue Album." As a result, the quartet's new brazenly conflicted Weezer, a.k.a.

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Twenty-year-old Londoner Adele Atkins lives up to her "Sound of 2008" hype, in that she represents a highly commercial compromise between Amy Winehouse's genuine soul danger (19's bracing singles "Chasing Pavements" and "Cold Shoulder") and James Blunt's shlocky pop safety (virtually everything else).

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Midway through another nuanced collection of mid-tempo '70s-pop-referencing tunes that document the lives of folks who manage only fleeting moments of happiness between protracted stretches of frustration, this L.A.- based veteran songwriter runs head-on into what she typically approaches sideways.

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Concocting an Asian update on '90s Britpop that often eclipses the catchiness of their original sources, this Tokyo duo offers further proof that the right variation on proven Beatles and Stones riffs can leap over any language barrier.

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First known as a Pitchfork music critic, this champion of experimental noise and classic pop unites both on a debut album that bypasses the Norwegian space disco of label co-owner Hans-Peter Lindstrøm. Instead, the Texas-born, San