Lightning is no kind of departure, but the slight variations in sound and the slightly expanded emotional palette mean that it's an improvement over the last record or two.

Some judicious editing on the band's part would have made this a worthy follow-up to their first two excellent albums but as it stands, it's more of a confused and confusing record that is hard to recommend to anyone except fans who came on board when O was released.

Emotionally powerful, darkly beautiful, and troubling yet genuine at the same time, Don't Be a Stranger is the sort of album only Mark Eitzel could make, and if it's not always as strong and as focused as one might hope, it honors his muse better than he has on his own in some time, and shows this master songwriter still has some worthy stories left to tell.

His unique literary view into both the banal and the horrific mix with the most interesting and developed arrangement of any Mountain Goats album and the result is some of the strongest, most compelling work of an already brilliant run.

It's a fine set, worth owning along with Endtroducing… while giving beat-friendly newcomers a very persuasive career-to-date overview.

Even at a well-established level and decades into his craft, Vai takes some surprising risks on The Story of Light, and the album almost always benefits from them.

The warmth, sophistication, humor, and immediacy present on this set make it a welcome addition to her catalog.

The album doesn't immediately grab you, but if given time to spread through you like warm cider on a fall day, Levek's subtle charms will win you over and this album will be one of the first you'll want to reach for to help capture or create a mood of autumnal melancholy.

La Futura is the best album from ZZ Top since that '80s landmark but it flips Eliminator on its head, using synthesized elements as accents, not as a skeleton.

"March of the Wizards" and "Chameleons Tale," just end up sounding boring and out of place. Subtract these songs and The Return of Love is an impressive album that does almost exactly what it sets out to do, and sounds very pleasant while doing it.

Gold Dust is another of Amos' dreams realized--to record live with an orchestra--and it is most certainly for her dedicated fans, who will no doubt find elements in these new versions to enjoy.

Sugaring Season is sophisticated, mature, and rife with quiet passion.

Though not all of the band's experiments necessarily pay off, the album feels like a worthy proving ground for the ideas that will take the band boldly into the future.

His slight adjustments and increased restraint make this his most accessible and creative release yet.

With its restrained arrangements and spacious production, The Devil You Know allows Jones' enigmatic voice the room it needs to rise and deliver these songs, not from rock & roll history, but from her heart, marrow, and bones.

Awakened lives up to the reputation the AILD have built for themselves over the last decade or so of recording, showing their ability to find just the right balance between cathartic aggression and soaring melody while maintaining a velocity that seems more and more impressive.

Reckon is a statement that hits hard (and close to home) if you'll give it a careful listen.

Little Heater is a lovely, evocative album that touches the heart, the soul, and the intellect with equal force; this is the work of a singular artist working at the top of her game and it demands to be heard.

This long-labored album is a thoughtful and contemplative breed of off-kilter pop that becomes both more interesting and increasingly complex with repeat listening.

Flying in the face of his public persona, this is a sprawling (could be tighter) and humble (could be more persuasive) Deadmau5 album and one best suited for established fans.

hile it works well as a companion to Iradelphic, it's just as compelling in its own right.

Bitter Drink feels more exuberant than the band's earlier work, upping the tempo and grandeur of the songs in a way that shines a little light on the band's darkness without snuffing it out completely.

YokoKimThurston feels more focused and risk-taking than some weekend distraction between friends. Sonic Youth have never shied away from releasing indulgent noise jams in the name of art for art's sake, but this album ranks above the best of their non-rock experimentation, and adds a new dimension, with both Gordon and Moore stepping back to serve as supporting noisemakers for Ono's one-of-a-kind voice.

The combination of Parker's inspired production, Prochet's lovely singing and evocative songwriting, and the perfect balance the duo strikes between pop and art makes Melody's Echo Chamber a rather stunning debut.

Thankful N' Thoughtful is a solid outing from an outstanding singer who knows how to growl, croon, grumble, praise, and jump for joy with her vocal phrasing--whatever makes the song live and breathe.

As with many of his songs, the lyrical value (clever, cerebral) is far greater than the musical value (sluggish, meandering). It's much more about delivering a message and provoking debate than replays.

If still very much finding their feet, California Wives nonetheless have a very good thing going that could really set them apart with whatever they go for next.

Dead in the Boot is a quieter, more abstract affair that feels surprisingly autonomous.

As lovely and sparse as Anda Jaleo and Perlas were, it is Blood Rushing that offers us the most of Foster, as a singer, a singular songwriter, and an artful conceptualist.

Jimmy's Show is yet more proof that Noir is a pop music magician.

While that inspired recklessness is missed, this brisk, cheerful collection of pop is a relief after the operatic ambitions of 21st Century Breakdown.

It expands their sound, delves into some new sonic textures, and cements Dee Dee's place as one of the more interesting and expressive vocalists around.

Strapped isn't a bad album so much as a strangely scattered one, revealing the Soft Pack caught between delivering what they're known for and what they might like to become.

Two albums in and Mumford & Sons still sound like a talented outfit fused to the starting block, paralyzed by the thought of having to truly race for their lives.

The unlikely marriage of cold, Bowie-in-Berlin-esque funk and maximized random sound snippets comes off as the most natural and lovely expression of hopeful despair imaginable. Much of the record follows this incredibly nuanced path, giving it uniquely brittle atmosphere, and ranking among the band's best work.

They've turned into savvy old pros who know when to flex their muscle and when to lay back, and that canny musicality and camouflaged maturity make Push and Shove a satisfying comeback.

The results are elegant and beautiful, as all Sea and Cake albums are, but also slightly experimental.

It would all add up to another listen-to-it-once bit of over-serious Americana noir if the songs weren't so good. But they're good.

Cast the Same Old Shadow ultimately crumbles under the weight of its own despondency.

Straying far from home, Tomahawk Technique isn't an awful Sean Paul album, but it is an odd one.

Exuberant and direct, the album is a refreshing change from the subtle layering of Mines, finding the band at its most musically manic while delivering its most personal lyrics to date.

Best of all, Tucker and crew rock out a lot, and in a lot of different ways, on Kill My Blues.

It's a pleasure from the get-go: a nicely ominous plucked guitar rhythm of a couple of notes is the bed for even more moody feedback wails and fading in/out arcs of feedback.

Obey the Brave's no-nonsense approach, boundless energy and verve, and catharsis-cleansing rage make the songs on Young Blood crackle with the out-of-control power of both the hungriest up-and-comers and all the institutions of power metal that came before.

Layered viewpoints, bittersweet situations, and complicated anger flow out of this articulate effort, but the sweet trick of the album is how approachable it is, living up to its title with equal shares of Mourning and Dreaming.

Sarcastic, sweet, subversive, geeky, and awkward are hard vibes to juggle, but Folds, Sledge, and Jessee manage more times than not to keep all of the pins in the air, which after more than a decade apart, is pretty remarkable.

Sometimes things get a little too sweetly sleepy, but at its best this is a handsome, enjoyable listen.

How to Dress Well still works best when Krell favors the more ethereal side of his music, blurring together his influences into something more unique.

Tomorrowland is the disruptive, chaotic, creative process of the artist revealed; it's full of frustration, anger, conviction, and excitement, all worn plainly on its tattered sleeve.

It's as fresh as any music he's ever made, and one of his very best albums.

There's something to be said for Jepsen's girl-next-door persona, which helps make Kiss one of 2012's best, and sweetest, pop albums.

Gallows finds them staying the course, delivering high-octane thrills on every track in a way that feels as if it's meant to reassure fans that Gallows are done playing around and are ready to get back to business.

Overall, though, while Mirage Rock sees Band of Horses further immerse themselves in Americana, more than anything it finds them enraptured by the simple joy of music-making.

Meat + Bone may not restore faith in reunions in general, but it does prove that this burly trio has plenty of swagger and sloppy rock and roll left in them.

While the murky atmosphere and late-night pulse of songs like "Push" and "Fast Seconds," might not immediately scream fun, there's something undeniably engaging about them.

As with most extreme death/doom albums verging on the funereal, this one requires a little patience, but the payoff is well worth it.

Her livelier numbers, of which there are quite a few, aren't exactly frivolous, but they have a pulse and plenty of color which, combined with album's concise running time, give Charmer the feel of an immediate, engaging pop record.

Bend Beyond is the most fully realized set of songs yet from Woods, and continues a lineage of each record surpassing their last.

Yet for all its contradictions and clumsiness, it's hard not to admire The Spirit Indestructible, for it is that rare thing: a major-label album that bears the unmistakably messy, human stamp of an artist.

They're veterans that know how to use their tools, so even if the raw materials may not be quite as compelling as their earliest singles, the overall craft on Battle Born is more appealing.

Breakthrough splatters so many short ideas across its 47 minutes that a front-to-back listen is wearying, like hearing a dozen erratic interludes mixed in with a handful of lengthier sketches that are no more settled.

It's weird and willfully, proudly human, a big pop album about real emotions and one of P!nk's wildest rides.

While it's not as obviously big a statement as Veckatimest was, Shields is plenty ambitious in its own right, and its complexity demands and rewards patient listening.

As always with Dinosaur Jr., underneath all that sound lie some sturdy bones, songs constructed with expert, unassuming craftsmanship and a sly wit, but it's the variety and adventure that makes I Bet On Sky something more than another excellent Dinosaur record.

Sic Alps isn't quite as flowing as its predecessor Napa Asylum, but it still does a fine job of balancing the band's increasing prowess and the sprawling, noisy mischief for which they've always been known.

Putrifiers II is part snapshot and part look into the crystal ball, showing Dwyer and company's ever-changing approach to songwriting and musicianship, and further cementing Thee Oh Sees' status as one of the most liberated, vital bands in indie rock.

It's intriguing and at times vaguely unsettling.

Coexist's exploration of isolation and intimacy is demanding and rewarding in its bold subtlety and eloquent simplicity.

Elysium is an interesting, sour, and insider-aimed dispatch from backstage, interrupted by some big moments that sound entirely commissioned.

Theatre is Evil bristles, crackles, aches, and moans with surprising efficiency considering its 15-song length, pairing fractured synths and staccato guitar riffs with Palmer's throaty, untamed pipes, sounding for all the world like a brazenly cool, alternate-universe version of No Doubt.

Stein and Brock still seem to be working out their garage and pop influences in their guitar work; they don't deliver a fully satisfying fusion of their influences, but instead split the difference between jangle and crunch, watering it all down in the process.

If it isn't both the most purposeful and moving album to come out of dubstep, it's got to be at least one of the two.

Forget the limiting rubric of country-pop: this is one of the best mainstream pop albums of 2012.

Given all the things Byrne and Clark pack into Love This Giant, it's a remarkably catchy and concise set of songs featuring some of the most vibrant work that either one of them has produced.

Away from the World is a bit of a rare thing: a return to form lacking an ounce of nostalgia.

It's part punk, part grunge, part riot grrrl, all slamming together in the mosh pit and exploding into a fist-pumping fury you won't soon want to forget.

Halstead gets closer to creating music that transmits his bare soul to the listener without much sonic trickery to get in the way. In the wrong hands, such a Spartan approach could end up boring, but in Halstead's case, it's completely transfixing and true.

It's a brave, compelling collection from an artist who continues to evolve in remarkable and unexpected ways.

Negotiations' 11 tracks ebb and flow in similar ways to one another, but upon close inspection, the deft placement of nearly hidden sonic details is what makes the album so interesting, and breathes life into the band's already enjoyable soul-searching pop.

While Koster's childlike enthusiasm, meandering, impressionistic lyrics, and Anglophile steampunk posturing may be the very definition of twee (or tweed, in this sense), like Willy Wonka, it's hard not to admire his Luddite tenacity, especially in an age that prefers instant gratification to pure imagination.

Dylan is in mostly excellent form--even when sloppy; it sounds like he's having the time of his life.

While these tales of people trying to escape their pasts aren't quite as masterful as Carried to Dust, Algiers has some great songs and a vitality that Calexico should try to hang onto in the future.

The record may not be their masterpiece, but it is an important piece of a surprisingly strong career.

It may not hit the listener over the head with theatrics or tormented confessions, but the subdued and personal nature of Church's songs here allow for a more intimate connection than on any Sea Wolf material that came before.

There's nothing outstanding here but fans of the band will have no complaints, and for newcomers it's as good a starting point as any, with arguably the same ratio of clever understated brilliance to uninspired mediocrity as any other phase of their discography.

While the Death in June/Current 93 comparisons are warranted and worn with pride, this album sees the band growing upward from those roots into an aggressive, heavily orchestrated look into the darker parts of the human condition.

The Avett Brothers aren't rewriting the book, they're just translating it for a new generation.

Overall, though, Liquid Swords is possibly the most unsettling album in the Wu canon (even ahead of Ol' Dirty Bastard), and it ranks with Enter the Wu-Tang (36 Chambers) and Raekwon's Only Built 4 Cuban Linx as one of the group's undisputed classics.

Above all, Mungodelics practically bubbles with undisguised joy in the moment, a pleasure in activity, and the possibilities they explore.

The music and images of Hazlewood singing to Axelman's family, running the Gotland marathon, and convincing Swedish children to take sides against Nixon turn both movie and album into a celebration of the enduring friendship between artist and director.

The near perfect balance of cinematic classical and rock music here may put some off some headbangers, but it will no doubt appeal to anyone with an open mind, and more importantly, an open heart.

Like all of the best Swallow the Sun songs past, these are invariably lush, powerful, cathartic musical statements; rich in texture, multiple emotions, and even nuance, but we'd be lying to call them revolutionary, or even seriously evolutionary.

The Salesman and the Shark is head and shoulders above the work of most of Rowe's peers, and he possesses a strong identity as a songwriter, even if he doesn't feel confident completely relying on it yet.

There's a strong, varied energy that's showcased as a result, with youthful ideas and a sense of trying something different slamming up against a political and cultural atmosphere that was barely welcoming of it.

This cohesive piece is still dotted with stand-out moments.

If 8Ball always seemed more moonshine than fine wine, Life's Quest suggests he can still get better with age and go down smooth when you let him mellow.

Contact is certainly a showcase for all the things the Noisettes can do well, but more focus would help define them as eclectic popsters instead of fickle ones.

If it's more of an archival release than a necessary one, it's very listenable and catches an eccentric, odd little band of three fine songwriters doing that thing they did--and that they still do.