Lykke Li returns with her fifth studio album EYEYE. The album is an eight track story about lust, attraction, attachment, and rejection; the landscape of love. The songs are inhabited by moving images that neither start nor end. Each film functions as a visual loop, concise as a haiku, yet continuing in perpetuity. The result is a somatic, repetitious experience. Compounding chapters between a dream and reality.

As if they finally realized that they couldn't quite compete with contemporary musical fashions any more, the Bee Gees moved firmly into "mature" territory with Still Waters. However, they are canny enough to realize that they shouldn't abandon the frothy disco that made them superstars in the late '70s – they should merely temper it with measured rhythms and tasteful melodies…

Rhino's three-disc box set The Remains of Tom Lehrer presents 75 tracks from the satirist's four decade career. The first disc concentrates on Lehrer's studio output, including pieces from his 1953 debut Songs by Tom Lehrer and his 1959 album More of Tom Lehrer, as well as a 1996 version of "I Got It from Agnes" and "That's Mathematics," a previously unreleased track from 1993. Disc two gathers his '59 performances at MIT and Harvard, captured on the albums Tom Lehrer Revisited and An Evening Wasted With Tom Lehrer (which offered many of the same selections as their studio predecessors). The third disc is a mix of live and studio tracks, including the material from the album That Was the Year That Was, songs written for PBS's The Electric Company in 1971-72, orchestral versions of songs conducted by Richard Hayman in 1960, and four new songs, including "Selling Out" and "(I'm Spending Hanukkah) In Santa Monica." Song-by-song notes by Lehrer, rare photos, and an essay by Dr. Demento add an extra depth to The Remains of Tom Lehrer making it the ultimate collection of his irreverent social commentary.

Men at Work were one of the more surprising success stories of the new wave era, rocketing out of Australia in 1982 to become the most successful artist of the year. With its Police-styled rhythms, catchy guitar hooks, wailing saxophones, and off-kilter sense of humor, the band's debut album, Business as Usual, became an international blockbuster, breaking the American record for the most weeks a debut spent at the top of the charts. Their funny, irreverent videos became MTV favorites, helping send "Who Can It Be Now?" and "Down Under" to number one. Men at Work's momentum sustained them through their second album, 1983's Cargo, before the bottom fell out of the band's popularity. After releasing Two Hearts in 1985, Men at Work broke up, becoming one of the better-remembered phenomena of new wave.

Moby's most unified and understated album, and all the better for it, Wait for Me is a morose set of elegantly bleary material, quite a shift from the hedonistic club tracks of Last Night. Dominated by instrumentals, "Shot in the Back of the Head" is the most evocative of the bunch, seemingly pulled from an unreleased David Lynch film scored by the Afghan Whigs circa Gentlemen - a lament from a dustbowl, full of mournful slide guitar and dewy electric piano. Other than "Mistake" - a glum neo-post-punk rave-up that, despite its cathartic release, remains downcast - Moby leaves the vocals to a series of women (neighborhood chums, apparently) who each contribute to one song. The smoky 3-a.m. gospel whispers from throwback soul singer Leela James on "Walk with Me" steal the show.

One of Italy's best-loved artists, Adriano Celentano has been equally successful in film and music. Whether singing Elvis Presley-inspired rock, as he did as a member of the Rock Boys in 1957, or romantic balladry, Celentano found a dedicated market for his music…