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.

This is the first album of new material in six years for the rock band led by Glenn Danzig.

Fol Chen continues to embrace mystery and avoid the obvious on Part II: The New December. As on Part I: John Shade, Your Fortune’s Made, the enigmatic band makes a virtue out of indirectness, sending songs through secret passages and tunnels that end in hooks some distance from where they were expected. There’s a strong experimental streak in the brainy way Fol Chen takes what seems like a straightforward idea and twists it into something completely different; like the Dirty Projectors, the group flirts with and subverts mainstream pop ideas, and like labelmates Cryptacize, they’ve got a flair for the deceptively simple. The band goes even further down the rabbit hole than on Part I, beginning The New December with some of its strangest music. “In Ruins” contrasts deep, whispered vocals with lively girlish ones atop busy keyboards playing busy, vaguely Eastern-tinged melodies; “Your Curtain Call” begins with breathy beats and woozy flutes, expanding into bells and a drunken sax solo before pulling back again; and “Men, Houses or Beasts” tiptoes so slowly that it almost sounds like it was recorded at the wrong speed. Fittingly for a band so committed to disguising its identity, some of The New December’s best songs deal with miscommunication and missed connections. On “The Holograms,” a tale of forgotten names and words doubling into optical illusions, bounces along on one of the album’s catchiest melodies, while the excellent “C/U” keeps its lovers apart despite its almost perversely straightforward beat. Likewise, the band buries some of its best songs on the album’s second half: “Adeline (You Always Look so Bored)”’s sharp-tongued chamber pop recalls St. Vincent’s abundant musical and lyrical wit, and “They Came to Me” boasts rubbery beats that are just as danceable as they are strange, and could be heard at a club with a trampoline for a dancefloor. How exactly these songs fit together with “Holes”’ delicate plucking and the title track’s pixelated folk might be locked in Fol Chen’s brains, but even if there are more pieces of their puzzle-pop missing here than there were on John Shade, Your Fortune’s Made, The New December is never boring. ~ Heather Phares

The legendary Philadelphia posse returns with its first release since playing with Late Night With Jimmy Fallon's house band. Staying true to its roots with acoustic jazz grooves and elements of rock and soul, The Roots continue its reign as one of hip-hop's most innovative acts.

It's been three years since Uffie took the electro underground music scene by storm with her beats and rhymes. Her much anticipated new album promises to deliver even more modern dance club music and dubstep jams.

After a three-year hiatus, Macy Gray delivers soulful vocals, storytelling lyrics, and sparkling melodies on her latest album.

With its seventh studio album, the British dance duo continues to break down conventionality in electronic music, employing acid synths, break-beat rhythms, and genre-bending production that made it pioneers of the dance-music revolution.

Miley breaks free from her role as Hannah Montana on Disney with a third CD of big ballads and dance beats.

Famous for her soaring vocals, Sia's new release brings brilliance to the modern pop track, with catchy grooves, soulful song arrangements, and a few synth-heavy dance beats that are playful and party friendly.

Eminem continues his forward momentum with confrontational, angst-ridden rap that digs deep into the psyche on his new album.

The Canadian indie rock band's first album on Soft Revolution was produced by Tom McFall.

The Beta Band's Steve Mason releases his first solo album under his name.

Working with producer T. Bone Burnett, Robert Randolph picked songs representing the roots of 20th century American music.

The follow-up to the British rock band's 2008 debut Antidotes was produced by Luke Smith.

The latest album for the Swedish pop artist Robyn has been said to be part of a trilogy of albums to be released this year.

The veteran rock-and-rollers return with their first studio album in nearly a decade. With Petty's trademark drawl and snarling blues-driven guitar, Mojo delivers a return to their roots as they continue to push the boundaries of classic rock and roll.

Showcasing his depth as a rapper, singer, and songwriter, Drake's debut album secures his place among hip-hop's elite with emotionally charged lyrics and dynamically produced beats.

The latest album for the indie rock band We Are Scientists is its first with ex-Razorlight drummer Andy Burrows.

Ryan Hadlock helped produce the fifth studio album for British singer-songwriter, Ed Harcourt. The UK edition includes a seven-track bonus disc.

The blues and R&B covers album for the California-based Steve Miller Band is its first studio album in seven years and features the late Norton Buffalo.

The second album for the bluegrass five-piece band led by Chris Thile is the first to feature Paul Kowert who replaced Greg Garrison in November of 2008.

The second album for the Mark Ronson-produced quartet goes for a 1960's sound.

One of the major bands from the Brit-pop scene, Oasis' singles are collected in this two-CD compilation of their hits. Deluxe editions also include a DVD and a disc of songs performed for the 2009 iTunes Festival in London.

Continually redefining herself in the realm of folk-pop singer/songwriters, McLachlan's latest delivery after seven years is filled with thoughtful lyrics and impassioned vocal harmonies, making the album worth the wait.

The second self-titled album for the Canadian duo was recorded in a variety of places, including a garage in Detroit, a church in Iceland, a cabin in Canada, and a real music studio in London.

The Bronx's Joby Ford produces the Sacramento-based hard rock band's third full-length album.

After gaining acclaim for a densely melodic sound that anticipated the coming emergence of grunge, Scotland's Teenage Fanclub return with a harmony-driven album to inspire a power pop revival.

Experience has only made their work richer, bringing gravity to the subject matter and lightness to the sound of this new album. Keeping things honest--and often rapturous--has become a modus operandi.

Subtlety not being part of Christina Aguilera’s vocabulary, she trades the retro-swing of Back to Basics for the future-pop of Bionic, receiving assists from a roster that reads like a who’s-who of progressive pop in 2010: M.I.A., Le Tigre, Peaches, and John Hill & Switch, known for their work with Santigold. But like the half-cyborg/half-diva illustration of the album cover, this revamp is only partial. Aguilera hedges her bets by adding a ballad from old friend Linda Perry, gets Tricky Stewart to produce a trio of cuts, drafts Polow da Don and Focus… to produce some heavy and slow R&B, respectively, letting enough air into the machines to reassure hesitant fans that she hasn’t abandoned her roots. All this hesitancy means that for as many risks as it takes, Bionic doesn’t feel daring. Apart from the stuttering opener of the title track and glassy chill of “Elastic Love,” notably the two Hill & Switch productions, this never delivers the future shock it promises, but that’s not necessarily a bad thing, because the robot-diva hybrids are often interesting even when they stumble, as they do on “WooHoo,” its incessant title loop piercing like a dental drill. Exhibit A in Xtina’s curious tin ear for sex, “WooHoo” doesn’t work as temptation, not when the chorus come-on is “licky licky yum yum,” but her crassness is no longer alienating as it was on Stripped; it’s simply part of her persona, just like her shameless narcissism, showcased on the closing “Vanity,” where she gets her kid to confirm that she’s the greatest of them all. This triumphant self-possession comes so naturally to Christina that it’s hard not to wish that she acted so boldly throughout Bionic, letting the entirety of the record be as distinctly odd as its best moments. Frankly, the deluxe edition of Bionic does suggest what the album could have been: it’s supplemented by four bonus songs that are wildly imaginative, whether it’s the clattering, chanting “Bobblehead,” the cool synth glide of “Birds of Prey,” the perfect new wave pop of “Monday Morning,” or Sia’s mournful ballad “Stronger Than Ever.” In their place on the album proper are competent, relatively colorless club odes to fashion and fabulousness and Perry’s boring inspirational “Lift Me Up,” songs that play to Aguilera’s persona without inhabiting it. The rest of Bionic -- not just the hipster flirtations and Sia’s trio of richly ruminative AAA ballads, but the tracks directly within Aguilera’s wheelhouse, like Tricky Stewart’s wildly successful, slinky “Desnudate,” and the sultry slow burner “Sex for Breakfast” -- find Christina not playing to expectations but simply acting as a natural diva and is all the more compelling for it. ~ Stephen Thomas Erlewine

Though known for always being on the road, Against Me! has finally released its second major label album, which continues to blend elements of its trademark punk and folk rock with fist-pumping anthems celebrating teenage anarchy and encouraging all to fight the good fight.

Portland-based Blitzen Trapper brings a haunting, ethereal touch to folk rock with their new album, blending twangy rock riffs with bittersweet piano-laced melodies to create beautiful stylistic textures.

The Canadian four-piece returns with another album of catchy post-punk tunes, complete with the high energy and quirkiness Tokyo Police Club has cultivated throughout the years.

Los Angeles-based Ariel Pink releases his first album on the 4AD label.

The latest album for the John McCauley's band Deer Tick is its first with former Titus Andronicus guitarist Ian O'Neil.

The second album for the rock quintet from Brooklyn, New York was produced and recorded by the band in just over four months.

Ratatat's LP4 includes some tracks from the recording sessions from the duo's 2008 release LP3.

This is the solo debut for Irishman Conor J. O'Brien, a member of the rock band The Immediate who split up in 2007.

This is the debut full-length album for the Chicago-based foursome.

Mark Batson produced the third album for the Vermont-based rock group. It is the first with new members, Catherine Popper and Benny Yurco.

The fourth album for the Florida rapper Plies features Trey Songz, Fabolous, Young Jeezy, and Bei Maejor.

The full-length debut for the Brooklyn-based indie rock band was produced by Chris Zane.

This is producer Darren Cunningham's second album under the name Actress.

Skye Edwards returns as lead singer on the British band's seventh studio album.

Originally called Peggy Sue And The Pirates, the British trio shortened its name to just Peggy Sue for its debut full-length release.

The latest solo album for the ex-The Jam member, includes The Jam's bassist Bruce Foxton, Clem Cattini, ELO's Bev Bevan, and My Bloody Valentine's Kevin Shields as guest artists.

The electro-rock Brooklyn-based duo releases its debut album with Mom + Pop and M.I.A.'s N.E.E.T. Recordings.

Taking the best of post-punk, new wave, and pop as inspiration, Sunderland's Futureheads were among the best of the U.K.'s "angular" movement. Their capability of delivering their trademark pop thrills on this album sustains their position as Sunderland's sharpest export.

The London-based producer/singer-songwriter who worked with such artists as Omar, Sugababes, Cheryl Cole, Kesha, McFly, and Kylie Minogue releases his second album.

After almost 25 years and more than 25 albums, the unstoppable Melvins have the same sludgy, Sabbath-styled post-punk heaviness that solidified their place in rock history since the early '90s.

Hawaiian native and unofficial kingpin of beachside pop rock, Jack Johnson's newest delivery of breezily spun folk songs capture the mellow mood of Johnson's previous albums, complete with a sunny surf vibe.

After two years of touring and recording, the Ohio-based emo pop quintet returns to release its fourth album, which continues to showcase its brooding and post-hardcore sound.

The Canadian indie rock trio releases the follow-up to the band's 2008 debut, Red, Yellow & Blue.

Produced by Tucker Martine, the latest album for Grammy-nominated Tift Merritt features My Morning Jacket's Jim James and Greg Leisz as guests.

Sleepy Sun, the California rock band who most recently guested on UNKLE's Where Did The Night Fall, releases the follow-up to its 2009 debut.

This is the debut album for the Swedish teenage sisters.

The Wales-born Greek singer-songwriter releases her debut full-length album.

The Grammy-winning California rock band led by Scott Weiland returns with its first album in nearly a decade.

The R&B/soul singer covers songs by such British rock legends as the Beatles, Elton John, Led Zeppelin, Pink Floyd, The Who, and the Rolling Stones.

Black Moth Super Rainbow's Tom Fec releases a second solo album as Tobacco, which features Beck as a guest vocalist on two tracks.

The 11th album for the jam rock band features a cover of Vic Chesnutt's "This Cruel Thing."

The four-track EP is the first of a planned 11 EPs, which will all be released as one 44-track album at a later date.

The latest album for the singer-songwriter was produced by Richard Swift and recorded in just under week.

This is the first album in over 12 years for the Sacramento rock band who is cited as an influence by such bands as Thursday and Blink 182.

The debut album for the model-turned-singer-songwriter was produced by her husband, Jack White.

This is the third solo album for the San Francisco artist.

The debut album for the Guillemots singer-songwriter was produced by Adam Noble .

This is the fourth album for the Texas-based singer-songwriter.

The third album for the dance-rock band is reportedly James Murphy's last as LCD Soundsystem.

The third album for the rock band led by Ben Bridwell is its first on Columbia and for new members Tyler Ramsey and Bill Reynolds who joined after the release of 2007's Cease to Begin.

The latest album for the duo of Daniel Auerbach and Patrick Carney features two tracks produced with Danger Mouse.

The African-themed album brings Nas and reggae singer Damien Marley (the youngest son of Bob Marley) together. It features guest appearances by K'naan, Lil Wayne, Joss Stone, Dennis Brown, and Damien's brother Steven Marley, who also produced the release.

The fifth album for the British singer was produced by Beck and features a guest appearance by Chris Taylor of the band Grizzly Bear.

The second full-length album for the singer born in Kansas City is a continuation of the story of Cindi Mayweather, the android introduced in the 2007 EP, "Metropolis Suite I of IV: The Chase."

The Everything But The Girl singer's third solo album was produced by Ewan Pearson.

The experimental jazz quintet led by Grammy-nominated John Hollenbeck invites Gary Versace for its fifth album.

The Athens, Georgia-based band releases its seventh full-length album.

After scrapping some previous tracks, the electronic duo sat down and finished fourteen fresh tracks in six months for the band's first release in five years.

The Swedish duo incorporates Western African pop music in its latest album.

This is the debut album for Julie Ann Baenziger, who wrote, sang, and played all the instruments on the release.