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With the fourth in a series of albums written during a creative burst in Amsterdam, the Mars Volta guitarist forgoes his usual proggy pyrotechnics for a trek into dubby textures and hard drum breaks.

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Concept albums are synonymous with excess: For every masterwork like Tommy or Styx's Kilroy Was Here (no, really), three bombastic epics bludgeon you into a stupor. Cases in point: The Smashing Pumpkins' Machina/The Machines of God, the fourth side of The Wall, and the entire Jethro Tull catalog.

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The only offensive thing about this English electro-rock outfit's debut is how blatantly they rip off Justice ripping off Daft Punk. (Contrary to the CD's title, if you've read a music blog sometime during the past two years, you'll know exactly what you're getting yourself into.) That said, DIOYY?

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French electronic producer Anthony Gonzalez has always teetered between technological brilliance and oversynthesized pomposity. But his fourth album finally tips the balance, as it replicates the pimply, overwrought teen steam of John Hughes flicks and Tangerine Dream soundtracks.

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Jamie Seerman plays appealing folk pop that wouldn't be out of place at the corner espresso bar, but don't be fooled by her pleasantly laconic singing. The emotions she unveils in these engrossing tales of lust and failed relationships are as mellow as a punch in the face.

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"Women prefer a menagerie of clowns," Adam Green intones on "Leaky Flask," so he gives the ladies all his dork incarnations: Country Adam, Ragtime Adam, Morbidly Tense and Singing About Ponies Adam. On his fifth solo album, the erstwhile Moldy Peach wears out his welcome at 20 tracks, each one unrelated to the last and haphazardly abandoned around the oneand- a-half minute mark.