Coming as it does just a few years after her triumphant and accomplished Back to Basics disc, Christina Aguilera's Bionic (RCA) is a disappointment. Identity Crisis would have been a far better name for the record. Combining the worst and most dated elements of Madonna's early sexpot period and those of Madge's pre-fab Disney clone Britney's, Aguilera gets lost in the process on songs "Not Myself Tonight," the Nicki Minaj collaboration "Woohoo," "Glam" and "Prima Donna." The album isn't a total loss. Aguilera's gorgeous reunion with Linda ("Beautiful") Perry pays off, as does the resilient M.I.A. co-write "Elastic Love," all three of the Sia numbers ("My Heart," "I Am," "You Lost Me") and the stimulating LeTigre/Peaches co-penned "My Girls," featuring an appearance by Peaches.

Crystal Castles vocalist Alice Glass alternates between disco diva status and punk banshee, sometimes in the same song, on the Canadian electro duo's aptly named sophomore effort II (Fiction). You can get a taste of that in the suitably titled opening track "Fainting Spells," which should come with its own smelling salts. "Doe Deer" and "I Am Made of Chalk" pack a similar punch. Seasoned clubgoers who survive those cuts are in for a real treat for the remainder, including the heavenly disco of "Celestica" and "Baptism," the fat stomp of "Year of Silence" and "Pap Smear," the eerie "Empathy," the airy "Suffocation," and the exotic "Vietnam."

Sia delivers her most dance-driven disc with We Are Born (Monkey Puzzle/Jive), and one listen confirms that she was born to be a dance diva

. "The Fight" struts and pumps, and gets the juices flowing. But it's the ecstatic and irresistible "Clap Your Hands" (go ahead, try not to clap your hands or dance, I dare you) that sounds as though it's destined to be the tea-dance tune of the summer of 2010. The retro "Stop Trying," crunchy "Bring Night" and thumping "You've Changed" prove that Sia is nothing if not versatile. There's more to Sia than that, as you can hear on the soulful "Be Good to Me," the atmospheric "Cloud," the bouncy pop of "The Co-dependent" and a respectable reading of Madonna's "Oh Father."

Dragonette, led by Martina Sorbara, isn't afraid to toss in a banjo sound on a dance track such as "Gone Too Far," from the trio's Fixin To Thrill (Bandroom) disc. "Liar" is a truly delirious dance cut, and the syncopated "Easy" is hard to resist. "Pick Up the Phone" has the ring of a dance anthem, "We Rule the World" has the potential to rule the dancefloor, and "Big Sunglasses" sounds like an homage to Lady Gaga.

As tea-dance divas go, few can hold a candle to Swedish sensation Robyn. Her brilliant 2008 eponymous disc (and its preceding Rakamonie EP) put some distance between the Robyn of the 20th and 21st centuries. Body Talk Pt. 1 (Konichiwa/Cherry Tree/Interscope) continues in a similar vein. A list of things that are "killing" her, "Don't F***ing Tell Me What To Do" is a rant that you can dance to. "Fembots" is everything that Aguilera's "Bionic" track isn't. "Dancing on My Own," the best track, is that rare dance cut that stirs up emotions while whipping the listener into a dance frenzy. "None of Dem" (featuring Ršyksopp) is almost as good, while "Cry When You Get Older" is a pleasant pop song. The Euro reggae of "Dancehall Queen" is the only misstep.

Longtime tea-dance goddess Kylie Minogue retains her status with her dynamic new Aphrodite (Atralwerks/Parlophone) disc. There's no question about what's on her mind, because the first word she sings on album opener "All the Lovers" is "dance," and you have no choice but to obey. "Get Outta My Way" is something you might shout on your way to the dance floor to cut loose, while the exuberant "Put Your Hands Up (If You Feel Love)" could be kissing cousins with Sia's "Clap Your Hands." But the big news on this disc is Kylie's interesting choice in collaborators. "Too Much," co-written by Minogue, Jake Shears and Calvin Harris, is just right for dancing, while the pop-oriented "Everything Is Beautiful," co-written by Keane's Tim Rice-Oxley, is striking.

One of the more surprising entries into tea-dance territory is from Kelis of "Milkshake" and "Caught Out There" fame. When Kelis chants "we control the dance floor" at the end of the intro from her Flesh Tone (will.i.am/Interscope) full-length, you know that a change is in the air. Turns out there was a full-fledged dance diva under her tough urban-cookie exterior all along. Just listen to "22nd Century," the explosive "4th of July (Fireworks)," the slamming "Acapella," the liberated call of "Scream" and "Emancipate," and the motherhood anthem "Song for my Baby" as audible proof of this distinctly different side of Kelis.