1980's influences exist throughout the latest album for the Texas-born electronic artist.

Filter returns to its 1990s sound with its Bob Marlette-produced fifth album.

Recorded with the support of the Gershwin estate, this tribute album finds Brian Wilson putting his own stamp on a number of George Gershwin classics, as well as completing two songs left unfinished at the time of the composer's death.

T-Bone Burnett returned to produce the singer-songwriter's latest album which was recorded while Mellencamp was touring the Southern states.

This is the first album for the Louisiana-born country singer on Toby Keith's Show Dog label after completing his contract with Capitol records.

Ray LaMontagne self-produced his fourth full-length, the first without producer Ethan Johns.

The second album for the Leeds trio was recorded in Seattle, Washington, with producer John Goodmanson.

The Australian rock trio releases its first album as PVT, after an American band claimed legal rights to the name Pivot.

This is the third album for the Chicago-based indie rock band formed by two members of Silkworm.

Ever since the dawn of the electric guitar, white boys have sung the blues, some with considerably more success than others. Eli “Paperboy” Reed is part of that long tradition, but he stands apart from the pack as much as he belongs to it, due in large part to his age. Raised on CD reissues of classic blues and soul -- he was not even 10 when the first Complete Stax/Volt Singles box came out -- Reed has absorbed the sound and sensibility of classic ‘60s soul but sings without any white-boy blues affectations, totally comfortable in his own skin because nobody else his age, of any race, was attempting to make this kind of music. This can cause a kind of a disconnect -- Reed sounds so white when he sings, it’s disarming -- but he pours on the passion and has fully absorbed the tight turns of Stax and loves the sound as much as the structure, so much so that Come and Get It -- his third LP and first for a major label -- feels a bit like an unearthed relic, built on songs and sounds that could pass for unheard gems if it wasn’t for Reed’s unapologetically white voice, free of affectations and ticks. Some of that may be due to producer Mike Elizondo’s work -- he manages to make this sound like a throwback without being stiff, and without having a hint of Mark Ronson’s hipster retroism for Amy Winehouse -- but he’s just articulating Reed’s gifts, letting the songs stand front and center. And that’s what’s remarkable about Come and Get It: this is not a modern-day blues album, it’s a classic soul album, with almost all the tracks clocking in at 3:30 or less, leaving very little room for showboating solos. All concentration is on the tunes themselves, with the band kicking them toward kineticism, Reed channeling all his energy into making the songs sing, and they wind up sticking, sounding a bit like forgotten classics upon first listen, then winding up as familiar favorites upon the second. If there is any fault here, it’s that Reed’s voice remains perennially boyish, sometimes preventing this from achieving a level of gravity, but there’s no attempt to hide this: it’s an honest reflection of who Reed is, a young kid from Boston in love with the Southern sounds of the ‘60s and intent on carrying them on, even if he invites ridicule or scorn. He believes it, man, and based on Come and Get It, it’s hard not to believe it too. ~ Stephen Thomas Erlewine

The Southern rocker releases an album full of hell-raising, liquored-up country hits.

Known as "Baby Timberlake," this Duke University student is a pop singer who stands on his own, going from a dorm-room mixtape to potential stardom with his new album.

The band led by Zakk Wylde makes a metal album of explosive, ear-splitting jams.

The soundtrack features several cover songs and songs written by Beck for the movie based on the comic book about a young Canadian bass player named Scott Pilgrim who meets the perfect girl but soon discovers he must fight her seven exes.

The third full-length album for the Staten Island group was recorded live during a 48 hour period.

The Montreal band return with their third studio album of soaring anthems and varied instrumentation, a pairing that has successfully secured their place as indie rock royalty.

Recorded in world-renowned Sweet Tea studios, the experimental musical project started by San Diego-based Nathan Williams leaves laptop production and fuses fuzzy garage-rock with psychedelic pop for the new album.

With influences ranging from Sonic Youth to My Bloody Valentine, this Los Angeles trio's second album mixes melodic dream pop, electronica, and rock.

With influences ranging from Sonic Youth to My Bloody Valentine, this Los Angeles trio's second album mixes melodic dream pop, electronica, and rock.

Released in conjunction with the band's 2010 farewell tour, this double-disc acoustic album features new recordings of the Black Crowes' classic hits, as well as revised versions of rarities and deep cuts.

Dr. John revives the Night Tripper persona for his new album Tribal, which features guest spots from Derek Trucks, Donald Harrison, and tunes by Bobby Charles and Allen Toussaint.

The British post-punk band's latest album title gives away the game it asks people to play with the collection of 14 rerecorded hits.

The album of remixes of Lady Gaga's hits was originally released in Japan.

The fourth studio album for the Georgian-born British singer-songwriter was produced by William Orbit.

The Seattle indie rock quartet returns with its sophomore disc less than two years after debuting its self-titled album.

The third and final album from Bun B's Trill trilogy features such guests as Drake, Gucci Mane, Twista, Trey Songz, T-Pain, and Young Jeezy.

With a follow-up to his 2007 I'll Sleep When You're Dead still in the works, El-P releases an album of instrumental tracks.

The fifth album from this Los Angeles-based band is filled with straightforward rock-and-roll anthems.

The indie rock trio returns with its original lineup to release its first new album in 10 years.

This eight-track EP follows on the heels of his 2009 independent mixtapes, The Miseducation of Freddie Gibbs and midwestganstaboxframecadillacmuzik.

The second solo album for The Jayhawks' Mark Olson was produced by Beau Raymond.

After catching the ear of Sub Pop with its self-released album There's No Sky (Oh My My), the Milwaukee, Wisconsin, quartet recorded its major label debut with Justin Perkins.

Following the unexpected death of drummer Jimmy Sullivan, the metal band's latest release is a reflection on death and despair that fits the menacing mood, which has shaped its sound over the years.

Based out of Portland, the experimental rock trio's latest album delivers more of its unconventional instrumentation and showcases its genre-defying capabilities.

After several EPs, the Los Angeles based band releases its debut full-length of 1960s influenced pop songs.

Not commonly known for his subtlety, the singer from Wales returns with an album that keeps it simple and goes back to basics--blues and traditional gospel songs that are spiritual and speak nothing but the truth.

This is the debut album for the lo-fi indie band led by Dustin Payseur.

The Arizona indie rock band's second album was produced by Chris Chu of the Morning Benders.

Fat Joe's latest album features Busta Rhymes, Clipse, Cam'ron, Lil Wayne, Rico Love, TA, Too Short, Trey Songz, and Young Jeezy as guests.

This is the latest album for the California singer-songwriter, who started out as the nanny to Tom Waits' children.

Diplo and Switch return as Major Lazer with a six-track EP which includes a remix by Thom Yorke (Radiohead) of one track from their 2009 release Guns Don't Kill People...Lazers Do.

The latest project for Super Furry Animals' Gruff Rhys has him teaming up with Brazilian artist Tony Da Gatorra. The making of the album is the subject of the documentary, Seperado.

This is the third album for the two sets of brother and sisters produced Romeo Stodart with Valgeir Sigurosson.

The debut solo album for the ex-Razorlight drummer Andy Burrows was produced by Eliot James.

Brian Wilson and the Beach Boys are influences on the debut album for the trio from North Dakota, who started out as a duo named White Foliage.

The Canadian singer-songwriter from the folk trio Be Good Tanyas includes soul music influences on her first solo album.

Losing none of the momentum put in motion by his 2009 effort, Deeper Than Rap, Rick Ross keeps a very good thing going on Teflon Don, arguably his best album to date. You want rap-style luxury? Then Deeper is the better fit, but Teflon plays up the chilled and soulful elements of its predecessor, meaning Ross has graduated to a level where words like “organic” and “poignant” come into play. The former is best represented by “Mayback Music III” and it’s swirling, ‘70s-flavored dreamscape created by the J.U.S.T.I.C.E. League production team. Ross allows guests T.I. and Jadakiss to go first on the cut, then grabs his cigar for an uplifting story of ghetto triumph that goes from pushing to pleasing the folks (“Parents never had a good job/Now it’s black American Express cards"). When it comes to “poignant,” the evidence is dotted throughout the album with the rapper reflecting on where he’s been, and he often questions his own lust for fame. He chants the title to the opening “I’m Not a Star” as if it was a remindful mantra, but it’s his new love of contrasts that’s really interesting, following Kanye’s swaggering on “Live Fast, Die Young” with “Seems to me we gettin’ money for the wrong things/Look around, Maseratis for the whole team/Look at Haiti, children dyin’ round the clock/I’d send a hundred grand but that’s a decent watch”. The familiar party and thugging tunes work too with “B.M.F. (Blowin' Money Fast),” “No. 1,” and the mixtape favorite “MC Hammer” -- now with added Gucci Mane verse -- all coming correct. Add all the Illuminati references in the Jay-Z team-up (“Free Mason”), a decent smoking song (“Super High”), and a track where Cee-Lo’s performance just might make you misty (“Tears of Joy”), and it’s obvious Ross’ albums are no longer just vessels for his singles. ~ David Jeffries

The Chicago-based indie band move toward a more electronic sound on its first album without guitarist Jeff Carrillo.

The fifth solo album for the German-born artist is based on music he wrote for a 2008 Royal Ballet production.

The two-disc collection includes singles, remixes, and selections from the duo's EPs.

This is the debut full-length album for the band led by Francis Farewell Starlite; he remixed Kanye West's "Can't Tell Me Nothing" and worked with Drake on "Thank Me Later."

The fourth album for the indie group from Washington, DC, and Lexington, Kentucky, features Dawn Landes as a guest singer.

Sheryl Crow's seventh album takes a soulful musical direction for the singer-songwriter and features guest appearances from Justin Timberlake and Keith Richards.

This collection from Daniel Rossen (Grizzly Bear) and Fred Nicolaus contains B-sides and songs from the never released 2006 second album "The January Sessions."

This is the first album in over five years for the electronic duo from New York City.

The debut album for the Los Angeles-based rock band formed by Grandaddy's Jason Lytle and Aaron Burtch and Earlimart's Ariana Murray and Aaron Espinoza.

Covers of John Martyn's Fairytale Lullaby and Joanna Newsom's Swansea are included in the British band's acoustic second album.

Mark Kozelek goes acoustic with just his guitar on his fourth album under the name Sun Kil Moon.

Tracy Bonham’s career trajectory seems to run in reverse; with each record, she gets riskier, coming a long, long way from the bottled-up furious angst of her ‘90s alt-rock staple “Mother Mother.” Masts of Manhatta, her fourth album and first since 2005’s Blink the Brightest, ups the ante from that haunting record by accentuating its elliptical turns, its songs dodging conventional routes in favor of left turns. Bonham is assisted greatly by Beck guitarist Smokey Hormel and his trio, who lend her songs earthiness and art, giving this heft and welcome unpredictability. To an extent, Bonham lays out her album’s thesis on “We Moved Our City to the Country,” a knowing satire of hipsters fleeing the urban jungle for faux authenticity, where she feels the pull of the two extremes as evidenced by how her sawing violin contrasts with the cabaret shuffle of Hormel’s group. Masts of Manhatta walks this line throughout, sometimes getting quite a bit livelier, sometimes indulging in decidedly moody textures, always twisting just slightly from the expected, making for a record that’s quite intriguing upon the first listen and better on repeats, where the songs begin to dig in and all the textures gain resonance. ~ Stephen Thomas Erlewine

Elbow's Guy Garvey and Craig Potter produced the fifth album for the Manchester indie rock trio.

Originally, the album was to be released with a book of photographs by director David Lynch and vocals by such artists as The Flaming Lips, Super Furry Animals' Gruff Rhys, Jason Lytle, the Strokes' Julian Casablancas, Frank Black, Iggy Pop, the Shins' James Mercer, Suzanne Vega, Vic Chestnut, The Cardigans' Nina Persson, and David Lynch.

Ski Beatz produced most of the New Orleans-born rapper's first solo album with Def Jam.

The North Carolina bluegrass quartet releases its follow-up to the band's 2008 album IV.

This is the debut album for the band led by Portland's Kevin and Anita Robinson. The Swords' Evan Railton, The Decemberists' Chris Funk, and The Golden Bears' Seth Lorinczi round out the quintet.

On their second album, School of Seven Bells cast themselves as an update of a specific kind of misfit band. Alpinisms reconstituted late-’80/early-‘90s shoegaze. Disconnect from Desire, however, updates the sound of a kind of band that would have opened for Peter Gabriel and Eurythmics, or headlined over Revolver, rather than tour with the likes of Lush, Ride, and Pale Saints. Here, a focused songcraft and central placement of the Deheza twins’ alluring vocals -- which tend to be lower and more earthly than they were on the debut -- disallow School of Seven Bells from being squarely shoegaze. At the same time, the band is too left of center, too odd, to be considered anywhere near the mainstream. Their cleaner, less wispy, more muscular sound, combined with more traditional songwriting, is not that radical a change. It’s closer to a slight shift that registers after a couple spins, once it becomes apparent that deeply emotive and relatively sparse songs like “I L U,” “Joviann,” and “The Wait” would have made excellent tracks buried throughout Sire’s Just Say series. They have shoegaze lyric-generator staples like wind, waves, ocean, storms, and even talk of “slipping away.” And yet, the words are not merely functional, written solely for the sake of complementing the sound as an additional instrument. They’re either poetically vague or vaguely poetic -- stuff like “Let me will the dial to turn and gild the air with silver pearls of rain” and “When’s the wait a cradle in which you’re lulled from time to time, soundly spun into an insensate lie.” The thicker, more driving songs resemble a polished, warm Curve, whipping up squalls of noise over robust played-and-programmed rhythms that soar more often than batter. No matter the amount of layering, not a single element is obscured. This vivid directness suits them very well. ~ Andy Kellman

Internationally acclaimed rockers release their sixth album since Neil Finn first formed the band 25 years ago, featuring production by Jim Scott from Wilco.

The Sri Lankan-born, UK-based rapper releases her third album of eclectic, bold beats featuring production by Blaqstarr, Switch, and Diplo.

A companion CD to Sting's 2010 world tour, this album pairs the artist's greatest hits with new symphonic arrangements. Multiple conductors lend their help to the project, which also includes orchestral versions of Police songs.

This is the second album for the band formed in Berlin and named after the New Order song.

Trent Reznor along with his wife Mariqueen Maandig and Atticus Ross join to release their debut album as the band How To Destroy Angels.

The fifth studio album from Kelis features producers David Guetta and Benny Benassi, bringing dance and techno tidbits within her soulful R&B mix.

The Australian pop singer returns with more dance-floor slammers and pure pop hits that have kept her career going for over twenty years.

OutKast's Big Boi goes solo with an album featuring guest appearances from such artists as Jamie Foxx, Janelle Monae, B.o.B., Gucci Mane, Too Short, and George Clinton.

Bruce Springsteen guests on the first solo album on Fantasy Records for the former member of The Nuns, Rank and File, and True Believers.

Maps & Atlases’ second EP, You and Me and the Mountain, found the band moving in a lighter direction than the mathematical frenzy of their first EP Trees, Swallows, Houses. Their first full-length sees them fully morphed into a sophisticated indie pop group. Perch Patchwork is a bold debut, filled with bombastic arrangements, twisting modal progressions, and percussive layers. The skill set is high, but it’s far less showy. Guitarists will still be enthralled by Dave Davidson's and Erin Elders' fingertapping, but acoustics take precedent, and moderately slow tempos maintain the album's balladic feel. If Trees, Swallows, Houses felt like a cousin to Don Cab or Hella, their first Barsuk outing has adapted the organic spirit of their Northwestern labelmates (particularly that of Menomena, the Long Winters, and John Vanderslice.) Of course, with Maps & Atlases' virtuosic chops and syncopated leanings, they kind of resemble BLK JKS or Minus the Bear, albeit with a Jethro Tull influence. Trendy South African rhythms and austere strings spin a web around Davidson’s poetic lyrics, and in this intricate, introspective setting, their talent becomes very clear. ~ Jason Lymangrover

The third album for the dance quartet was inspired from a night at a Berlin club and was produced with Stuart Price.

The Boulder, Colorado-based duo's third album of house party hits and pulsating electro-pop features Ke$ha as a special guest.

With all but the vocals recorded live to tape, Wolf Parade's new release promises massive sound and heavy-hitting lyrics, which is what we've come to expect from this innovative indie-rock quartet.

This is the third full-length album for the New Jersey indie rock quintet.

The British trio from Manchester releases their debut album of dance rock.