Despite this somewhat disjointed feel, Situation Comedy should still please most of his fans, whether or not they've kept up with his busy release schedule.

While the band's elemental sound doesn't show much in the way of innovation, the spirit of true rock is so strong within it that it doesn't really matter.

It's a thrillingly bright and shiny noise pop album that is a positive addition to all the participants' already impressive résumés.

Khaled does his usual cheerleading and gets some production credits himself, but the real trick he pulls off is inspiring all these artists to somehow save up all these high-grade club tracks and singles for the DJ's annual dispatch. Suffering from Success, once again.

By many measures, Blunt's richest and best collection to date.

As a bridge between that album and whatever comes next, Wish Hotel works perfectly, hinting at only the slightest changes to the formula, but with differences enough to keep things from getting stale.

Guilt Trips is a soft, serene, and inspired debut.

Halo's voice is never heard--likely a relief for those who found Quarantine too unsettling--but this is about as jolly as the cover illustration, drawn by her father.

These songs are fun, energetic, and full of backcountry outlaw attitude.

Even though The Paradigm Shift might not be the album that listeners might expect after a reunion with Head, it shows the kind of creativity and inventiveness that, love them or hate them, helped to make them an influential force in heavy music.

Tall Tall Shadow is easily the songwriter's most fully realized effort; it should expand her audience reach considerably--even if it leaves some of her more purist followers by the wayside.

Throughout the epic set (which seems to have been played to less than 50 people from the minimal amount of cheering and banter between songs), Phillipps and the umpteenth update to his backing band maintain an air of autumnal detachment and sinister cool, true to their best moments even though the performance happened so deep into their career.

Overall, it's an impressive debut that's sure to make fans of any of the bands the trio came from really happy.

In its own way, it's some of his strangest music, and might appeal more to fans who appreciate his willingness to try anything once than those expecting a repeat of his previous album.

Perhaps the concept and execution are conventional, but even in this utterly expected setting, Clarkson retains her fiery, individual spirit, and that's what makes Wrapped in Red appealing: to the letter, it delivers what it promises.

Brain Holiday may not be reinventing anything, and Furlow could stand to take a break from his '90s worship, but the album does sound amazing and anyone who likes their guitars loud and melodies strong will find Brain Holiday something well worth digging into.

This ultimately winds up as one of Avril's livelier and better albums; it's all about the good times, no matter how temporary or illusionary they may be.

While these kinds of weird departures would be hard for any other band to pull off, Tres Cabrones shows that, even after 30 years, the Melvins are still as brash as ever, and the album feels like a fitting way for the band to ring in a big anniversary with an old friend who was there at the very beginning.

Fans of BP will no doubt delight in this masterful set, while newcomers will experience their brand of mind-melding consciousness expansion en masse.

The overall pace, sequence, and vibe of Back to Land finds the Shjips teetering on the edge of classic rock mania with enough restraint to keep things minimal, mystical, and interesting throughout.

The concept is artful and logical, yet ARTPOP never insinuates or settles in the subconscious; it always assaults, determined to make an impression even when all it has to say is that it doesn't have much to say.

There's nothing here that screams big hit–-but it's something better: the work of a diva who is comfortable in her own skin.

While it may lack some of the focus of its predecessor, it retains every bit of its oddball charm.

Ultimately, while Salute retains all of Little Mix's infectious, teen-friendly ingredients, it reveals a new recipe for fans whose palates have matured right along with the band.

Usually, Inside Llewyn Davis is straight satire, though, as it concentrates on the titular character's channeling of Von Ronk and, as such, has no intention of treating the music cavalierly; it winds up as something unusual for the Coens: an homage that comes from a place of warmth, a salute so loving it's hard to deny the affection.

He's an artist with ideas and while they sometimes pile up and crash on Cupid Deluxe, it's always a spectacular crash, and that's something worth investigating.

Ultimately, Some Things Never Stay the Same is a classic second album: it's not as consistent as Starting from Nowhere, but its highlights suggest Heidecker & Wood will deliver even more convincing and subtly funny songs next time.

Sweet & Hoffs identify why each of these tunes remains beloved, by audiences large or small, and the faithful, heartfelt nostalgia combined with the pair's participation in the scene makes Under the Covers, Vol. 3 the best trip down memory lane the duo has yet made.

More than just musical footnotes, these reworkings add extra depth to Mount Eerie's already complex body of work.

The album has a nice, gentle sway and Pickler has expertly modulated her diva moves so she's now a skillful country singer.

Daughtry has never allowed Daughtry to be silly before this record. This relative lightness makes a big difference--it also helps that the music itself is relatively nimble--and, ultimately, this turns Baptized into the best album he or his band has made.

Even if every track here isn't quite as inspired as this song, or the music from the first movie, The Hunger Games: Catching Fire is a solidly entertaining soundtrack.

If there's anything superfluous going on, it's simply happening too fast to worry about it, and while this means that it takes more than one listen to really take in what's going on, the album is solid enough that a second pass is a welcome proposition.

Fellow Travelers makes the listener feel like they snuck in the back door of the club and are bearing witness to one of the coolest soundchecks ever, and while it may not be the follow-up that fans were envisioning, it certainly deserves a slot in every Shearwater enthusiast's collection.

They're a good match. Jones' suppleness sands down Armstrong's ragged voice, he gives her grit while she lends him grace and these qualities are evident throughout this lovely little gem of an album.

Birdy's second release is a testament to her confidence in her own songwriting talent, and of course, to the fragility and intensity of her pure, unblemished vocals.

The web of sounds here creates the same relaxing and breathable environments as Eno's most meditative work, just a far more lo-fi rendering of it.

While these eclectic songs are intentionally less cohesive than either of the duo's albums, Nun's progression from Tracer and 7AM is equally logical and exciting.

Breathy R&B vocalist Jhené Aiko fleshes out her character on Sail Out, a relaxed debut EP that suggests that this girl is on permanent vacation.

As song after song of hazy quiet storm clouds roll by, it's easy to fall into an intoxicated trance that's only jostled into a dim awareness a few times by brightly strummed, very '80s-feeling guitars ("Light Through Lace"), finger-snapped basslines ("Under the Rose"), and the occasional vocal that cuts through the mist and almost delivers some naked emotion.

Ultimately, Live from KCRW feels like an addendum to the larger work of Push the Sky Away, but the musical and emotional force of this music is more than strong enough to merit its release; this is a striking reminder of the excellence of Nick Cave & the Bad Seeds as a live act, and Cave's maturation into one of the most extraordinary songwriters of his day.

Think of it as a personal and meaningful gift for fans, not just some "didn't think much about it" trinket or faceless gift certificate.

Good fun for confirmed followers, and not a bad sampler for those needing a taste of Thee Oh Sees' special brew.

The often awesome The Second Album is more concerned about opening doors than just preserving the Latyrx legacy.

There's no mistaking Days of Gold for anything earthy, but this sonic thawing winds up emphasizing Owen's inherent sweetness in an appealing fashion.

Even if this is Snoop's first album with a single producer since the monolithic, Dr. Dre-helmed Doggystyle, don't call it a comeback, call it lark, and a funky, welcome one at that.

Forty years on, Los Lobos are still one of America's best, bravest, and most satisfying bands, and their skills and their their instincts remain razor-sharp, regardless of their stage volume.

My Friend Fish is a really promising debut and a nice jolt of weirdo pop that should tides fans over until the next Foxygen album comes out.

Among the Grey songs drift quite naturally into and out of one another, creating a dreamy, labyrinthine, beguiling, listening experience.

Mostly though, the album is a successful blending of the past and present, with every new idea working out just right, with the end result being an album that capitalizes on the Liminañas' many established strengths and sends them shooting off in new directions that prove just as satisfying.

Strictly speaking, these 12 songs don't cohere into a mood or narrative but after two decades of deliberate, purposeful albums, it's rather thrilling to hear Springsteen revel in a mess of contradictions.

Dirty Gold is certainly a flawed debut, and yet it's not what's inside that's flawed, it's just the container's inability to hold such OCD-ish genius.

They've made a good career out of mixing the tongue-in-cheek with the truth, and Stoke Extinguisher is another in a long line of solid releases from a band that's made drifting between not caring at all and caring too much into an art form.

Most of the time, Tough Age make it sound pretty amazing, and to both the head and the heart, these folks stand out from the run of the mill garage punk acts of the new millennium.

You can hear the isolated perspectives that it was made in creep into the finished products, which doesn't take away from the songs but adds a feeling of being stuck in some faraway dream to even the most immediate of the band's glowing pop tunes.

Rave Tapes takes a while to hit its stride, but it delivers plenty of moments to keep fans intrigued once it does.

Calling EP2 "serviceable" might be a little harsh; instead, its best moments suggest that the Pixies are settling into writing songs that sound comfortable next to the classics and don't try too hard to reclaim the magic of the band's early years.

Approach this release as album number two and it comes off as a celebration based on past success, so use Up & Away as an intro, then join Ink and all the inspired party people he invited to My Own Lane.

Wanderlust is at its best when it's slightly dexterous (as on the girl group homage "Runaway Daydreamer") and it can get bogged down in pretension (as on the ceaseless pomp of "Love Is a Camera"), but it's always exquisitely sculpted and better for its attention to detail.

Describing just what Marijuana Deathsquads are up to on Oh My Sexy Lord isn't simple, but after taking a taste, don't be surprised if you ask for another dose before demanding to know the ingredients.

Even in its self-conscious worship of shoegaze it could easily become a late addition in that genre's canon. Shelter is expertly crafted, inspired, vulnerable, and honest.

Given Burton and Mercer's pedigrees, it's hard not to want more from Broken Bells, but After the Disco's strongest moments suggest that their music is coming into focus.

At times, Paisley seems a little beholden to tradition--he prefers tastefully burnished settings to an un-sanded, spiky mess--but he still has enough panache to give this a bit of resonance and that's what makes this record, which feels as if everybody involved wishes it was recorded in a cabin in 1975, rather charming.

Although it's unlikely In the Silence will have quite the same impact on the charts beyond the shores of Iceland, it does suggest another musical gem has been unearthed from the island's formidable pool of talent.

Just as pretty but more purposeful than Jones' previous output, Tranquilizers makes good on the promise of Dog Bite's debut and then some.

Peggy Sue may always be a little too quirky to reap the mainstream success of some of their contemporaries, but their versatility is a strength they can bank on in the long run.

While certain songs definitely stand on their own, the ability to capture a feeling throughout is what makes the album memorable and worthy of repeat listening.

The quirky and antiquey title track is nothing but a cute lark and comes off as a bit trite in such purposeful surroundings. Think of it as a slight misstep or comedic interlude, but otherwise, this is engaging sweet techno with a smile, carefully crafted and yet seemingly carefree.

He's aware he's building upon a past he sometimes pines for, yet he's restless enough to forage ahead into new territory, but only when he's surrounded by cozy, familiar settings.

The Green EP isn't a release that surprises and demands attention the way that Ambivalence Avenue and parts of Silver Wilkinson did; instead, it seduces listeners into a reverie that's more cohesive and satisfying than the EP's patchwork nature might suggest.

All told, Innocence finds Pontiak in a place both refined and vividly experimental, reining in their unhinged psychedelic guitar blasts and mind-melting production with some of their most nuanced songwriting to date.

Though truly hypnotic and rich with fuzzy textures, Maui Tears keeps its spacy tendencies from fading into incoherent jamming with both intriguing songwriting and pinpoint production choices.

With The B-Sides, fans are treated to another side of the band with a collection of live tracks, acoustic versions, covers, and unused studio cuts. While you could always describe the band's sound as raw, there's a sense of practiced composure on their albums that's refreshingly absent from the acoustic home recordings of "The Queen of Lower Chelsea" and "Boxer."

There's no filler, which isn't so stunning since this is an EP.

Given its experimental beginnings, Too Much Information might not be the band's most immediate album, but it affords them more possibilities than they've had since their debut.

Dunes is a perfect match of band, songs, and producer that works almost perfectly and should mean that the days of Gardens & Villa being compared to their peers are over.

The artistic playground of modern-day Berlin seems to have had its influence on the gentlemen of Breton as they turn in an extremely creative, yet accessible sophomore effort.

In the wake of crossover dance acts who scored after the success of On a Mission, Katy B remains in a class of her own.

Angel Guts: Red Classroom proves Xiu Xiu can still make impressively intimidating music--even if their real strengths arguably lie elsewhere.

Tales from the Realm of the Queen of Pentacles is a welcome return by an artist who has remained stubbornly true to herself and only records when she has something new to say.

Plugged In holds up well--20 years later, its isolationist roots rock doesn't feel dated as much as it feels out of time--and having a five or six strong cuts added to it does enhance its value, yet it's hard not to wish that ...Again was a full-on new album instead of this half-measure.

Nothin' But Blood finds the hard-living and hard-playing one-man band Biram sounding as intense as ever.

The musical realm that exists inside of Claypool's head is a bizarre one, but the songs on Four Foot Shack have a weird knack for worming their way into your head, turning your waking world into a surreal, country-fried cartoon version of itself that's oddly endearing.

With the same soft rock moods of America, the Eagles, Crosby, Stills & Nash, or American Beauty-era Grateful Dead, the decreased volume leaves the songs every bit as moody and ominous as their more electric studio versions, but far clearer.

††† is a solid effort that stands on its own merit rather than simply cruising on the cultural cache of its members.

It's their catchiest offering to date, with enough depth and immediate appeal to rival their influences.

A thoroughly satisfying and intriguing record that pushes Fanfarlo toward new boundaries.

The abiding impression left from this album is one of comfort, not despair, which makes Morning Phase distinctly different than its companion Sea Change.

Constructed with flawlessness in mind, Galore succeeds in its ability to sound intensely produced and polished but never sterile.

Hard Working Americans picked 11 cover tunes which deal with the hard truths of life among the working class, some recent compositions, and other, older songs that have remained relevant with the passage of time.

North American Poetry is at its best, however, when Wauters strips away the slight clutter and lets his most introspective thoughts, questions, and feelings flow.

Throughout it all Segarra struts her stuff without the slightest bit of arrogance (most of the arrangements are spare, but never willfully so), offering up a confident, yet ultimately amiable set of millennial-informed, urban crafted, Woody Guthrie-inspired, contemporary hobo-folk anthems that play fast and loose with genre tropes without losing the essence that makes them universal.

Peroxide showcases Nesbitt's sweet voice and personal yet universally relatable lyrics, which she frames in bright, often acoustic piano and guitar-driven arrangements.

Voices is filled with catchy, emotion-packed songs that will sound great booming out of radio speakers, soundtracking late nights spent alone and wondering, and anytime some really powerful modern pop is needed.

His half-hour Wave 1 EP supplies more of the robust, wide-eyed synth pop/funk for which he has been known, albeit with a few slight tweaks.

There is a buoyant creativity to many of Lake Street Dive's arrangements, and cuts like "Bobby Tanqueray" and "Seventeen" reveal such time-tested influences as late-'60s Muscle Shoals-influenced soul and Dusty Springfield-esque pop.

Working Out is an apt title, as Arthur Beatrice sound a little bit like they're in the late stages of development, where momentum is sometimes mistaken for maturation, but there's little doubt that they have the tools and the talent to carve out their own niche if given the room to grow a bit further out of the very populated one they currently reside in.

Easy access it's not, but track by track, this is excellence and an appetite-whetting experience worth any progressive hip-hop fan's attention.