Far more fun than the eighties actually were at the time, the second album from Melbourne's Cut Copy, In Ghost Colours, is one of the slickest and most varied reinterpretations of the era to appear in the last five years. Selective nostalgia means that every sound from the past is open to reappraisal and Cut Copy have moved on from the sometimes slavish devotion to New Order that dominated their first album, 2004's enjoyably familiar Bright Like Neon Love. By comparison In Ghost Colours is nearer to the dense pop of Electronic, Johnny Marr and Bernard Sumner's often overlooked collaboration, especially the brash, acoustic guitar driven opener "Feel The Love" and the brash "Lights and Music". But on tunes like the lush "Hearts On Fire" and the more abrasive "So Haunted", Dan Whitford and crew also nod to the experimental pop of the Cure and Depeche Mode and the now familiar sonic attack that My Bloody Valentine originated (and Snow Patrol eventually turned into pop). Less obviously, late period ELO, increasingly adored by studio heads, prove to be an influence. The producer here is none other than DFA's Tim Goldsworthy, and though Cut Copy are far from the bittersweet hedonism of his other recent clients Hercules And Love Affair, In Ghost Colours works both as contemporary dance-rock and, edited without gaps, as a complete album.—Steve Jelbert

Australian enhanced CD pressing of this single lifted from their 2008 album In Ghost Colours. Features five versions of 'Hearts On Fire': Radio Edit. Calvin Harris Remix, Midnight Juggernauts Remix, Knightlife Remix and Enhanced Video. Modular.

Vinyl pressing of In Ghost Colours by Cut Copy, a band from Melbourne, Australia. Their sound, often labeled as Indie Dance and/or Electropop, draws considerable influence from 80's New Wave and Post Punk genres. Cut Copy is managed by Punkdafunk, and they are signed to the record label Modular Recordings, home of Wolfmother, The Presets and New Young Pony Club.

For fans of brazen electronic music, few acts offer the longevity, consistency, and booty-shakin' insistence of Daft Punk. In a kind of tenth anniversary celebration of the Parisian duo's limited-edition live album Alive 1997, Alive 2007 captures a long and sweaty concert performed before 18,000 hometown fans. There's almost nothing by way of original material here, though the performance culls all of Daft Punk's many notable singles from their uncompromising debut, Homework, the merciless Human After All; and the opulent, seminal Discovery (including lead single "Harder, Better, Faster, Stronger," which garnered renewed fame as the predominant sample buoying "Stronger," from rapper Kanye West's third album, Graduation). Regardless, devoted Parisians had weathered a full decade without a live performance, and the ecstatic, roof-raising release captured in this recording testifies to Daft Punk's inimitable position as one of the world's top electro-house phenomena. More importantly, perhaps, by fusing two or more "songs" per "track," Alive 2007 pulls off what 2003's remix/rarities album, "Daft Club," could not: namely, mixing the band's back catalogue with the kinetic fervor it deserves. At the end of the day (or the decade), no one does Daft Punk like Daft Punk. —Jason Kirk

The cruel joke about contemporary Christian music for years has been that the recipe for successful CCM is to take a neutered form of some "alternative" rock from ten years ago, replace the word "baby" with "Jesus" and there you go—please do not forget to pick up your Dove award on your way out the door! At first, this seems to be the case with the David Crowder Band's new album, Remedy. "Can You Feel It," after all, sounds like tepid alt-y dance-pop with "edgy" distorted vocals, while "Everything Glorious" sounds like James Blount throwing off another adult contemporary snoozer while playing Pac Man. Thankfully, it's an eclectic release. Crowder's adept at mixing and matching genres, as anyone who's listened to his bluegrass-flavored A Collision—or its even rootsier follow-up, B Collision—will attest. Remedy sounds like a strange mix tape, but there is undeniable passion and skill at work here. Crowder, who's affiliated with the Praise & Worship movement, really knows how to write rousing anthems, even when making dubious production choices. —Mike McGonigal

This comic has a seemingly endless supply of endearingly off-kilter one liners and an over-active imagination. He's one of the most unique voices in comedy today and has written for/performed on Conan O'Brien, Letterman, and Carson Daly. He's the latest correspondent on The Daily Show with his critiques on pop culture. In 2003, he taped his first stand-up special, "Comedy Central Presents Demetri Martin" which remains one of the highest rated half hours on the network. This release puts all his best material on one CD. The DVD compiles the Comedy Central Presents and a bunch of other secret stuff.

Combining all of Presley's No. 1 hits from the Billboard charts (18 in total from 1956-59), this disc offers a decent, if skimpy, introduction to the King. Presley neophytes will certainly find it useful to have such standards as "Heartbreak Hotel," "Love Me Tender" and "Suspicious Minds" on one album. In addition to these huge Presley hits, such lesser known Number Ones as "Big Hunk o' Love" and "Good Luck Charm" are pleasing reminders of the breadth of Presley's abilities. Still, the fact is that there's a lot more fantastic Presley material out there, and any fan would be wise to seek out as much of it as he or she can. —Ian Landau

Vinyl LP pressing. 2009 debut for this duo consisting of members of Nickel Creek and Switchfoot. Both artists have achieved immense success with their respective bands. Sean Watkins is the guitar player and founding member of the Grammy Award winning trio Nickel Creek. Jon Forman is the guitarist and lead singer of the Grammy-nominated Rock band Switchfoot, which has sold over five million records worldwide. Both Watkins and Forman, being vocalists and multi-instrumentalists, took turns singing lead and they both played several instruments on each song including guitar, bass, keyboards, percussion, baritone ukulele, piano, organ, mandolin, steel guitar, 12-string guitar and more. Nickel Creek fiddle player Sara Watkins is also featured on several songs. The album was recorded and written in parts over the span of three years with no real deadlines, while still touring with their respective bands.