Much like the trio's studio work, the set has a unique touch that seems happenstance and carefully plotted all at once.

Down Like Gold showcases the duo's harmony-laden, folk, and indie pop sound.

Exquisite stuff and not so far off the trip-hop universe that it sounds alien, but those wishing for revivalist music or a nostalgia trip back to the days of chillout rooms could be thrown by the album's forward-thinking and genre-expanding moments.

New Bums finds two decidedly specific songwriters' styles and voices mesh into something new and different. The combination results in a strange, haunted look into imagined desert scenes, cheap motels, and tales of depraved living, floating by on tunes so unassuming they disappear before the darkness ever truly sets in.

It's a sturdy, often absorbing record from a singer who is determined to be in it for the long haul.

Damaged Bug is a celebration of the strange and often unstable world of analog electronics, and while there's considerably less "crash and bang" to the project than Dwyer's work with Coachwhips and Thee Oh Sees, it has a scuzziness that fans of the prolific noisemaker's other work will appreciate.

As with any meeting of pop and noise, Axxa/Abraxas can feel somewhat at odds with itself at times.

While War Psalms is certainly a long way from Morning Glory's humble beginnings as a bedroom recording project, the album shows a maturity that marks it as the beginning of an exciting new era for the band.

The streamlining does much for the album, giving the songs enough space to let their varied and often contrasting influences meld nicely with the band's unique visions.

The EP that preceded this album set the marker high for the Norwegian quintet, but they more than deliver here with a brave and diverse collection of songs.

Sure, no one is going to mistake this for an Einsturzende Neubaten or Jesus Lizard album (and most definitely not a Silver Jews disc), but the links to those acts can still be felt in the music here, making this self-titled debut an impressive collaboration between a trio of rather impressive collaborators.

If the seats at brunch are all taken by indie kids and laid-back electronica fans, Wedding Bells is a suitable soundtrack.

The Drop Beneath is another strong step toward Eternal Summers being a band like Bettie or Velocity Girl, the kind that other bands will look to for inspiration 20 years later.

It remains as easy on the ears as a worn pair of slippers on the feet.

It's an album that holds plenty of rewards for those willing to take the time to explore its odd twists and turns with an open mind.

While no one is going to accuse I Killed the Prom Queen of thinking too far outside the box, Beloved is an incredibly solid album from the Australian band, and is a fine return to the scene after a seven-year exile.

Even as Tycho adds more depth and variety to his sound, his music's main success is giving listeners an attractive backdrop for whatever they might be doing.

If Torches scratched the surface of twenty-something angst, then Supermodel takes that exploration a few steps deeper, revealing a more introspective, enigmatic, world-weary tone.

The songs sound sad but each carries hope somehow, although a little jump and joy here and there might have given this set a little more spark. Life is lived in the sunshine, too.

The nine tunes on Piano Nights walk a line between the haunted beauty of Dolores and the more austere, glacial darkness of earlier recordings.

A brief but compelling work from an important artist.

Architects have embraced change, and although they're still mindful of the sound that got them where they are, their refusal to be beholden to it makes Lost Forever, Lost Together one of their most exciting records to date.

This strong debut points to even stronger, more focused work from Foy down the line.

It's deliberately confusing, oddly seductive, and takes no prisoners.

Think of 50 Cent's Get Rich or Die Tryin' delivered by an inspired rapper in a post-Nicki Minaj world and you're close to the thrill of this inspired debut.

Ultimately, The Pink Caves has a haunting, surrealistic quality that, while melodic and song-based at times, also feels abstract and organic, as if these songs were not so much written by the band as cultivated as they grew out of the earth.

Tokyo Police Club worked with co-producer Doug Boehm, who has also collaborated with the French Kicks, and Forcefield often recalls how that band managed to sound sophisticated and unpretentious at the same time

Somewhere in between his rich, weathered baritone and his self-deprecating lyrics, the listener is charmed into submission, and it all goes down like a perfectly sessionable ale, albeit one with peculiar origins.

It's Alive is a debut that should appeal to both lovers of old-school surf pop and anyone who's into the modern "surf" noise-pop style, but always wanted more waves and less whine.

Wildewoman can feel a little rote, but to its credit, never dull, due in large part to Wolfe and Laessig's commanding performances.

All told, Daughter of Everything is a promising, if somewhat scattered collection of wry guitar pop that nods to the best of the '60s and '90s.

The use of production and electronic treatment amplifies almost all of the tracks here, creating interesting pockets of unexpected tension and menace in what would have otherwise stood as somewhat straightforward compositions.

Every one of these seem like they could have some kind of potential on the charts, so the fact they were shelved is a bit of a mystery because, when taken together--despite misguided novelties like "If I Told You Who It Was"--it adds up to one of Cash's stronger '80s albums.

They're as committed as ever to rocking and having a good time, and that's something that thankfully seems to be getting even stronger the more they figure out what they're doing.

World of Joy's second half isn't quite as cohesive as its first.

Its varied tones and moods settle into an exciting, vivid bigger picture and represent a clearer collection of Wilson's intelligent lyrical portraits and shifting stylistic muses.

Out of the box, the Melodic don't sound much like anyone else in British pop, and their individuality, imagination, and vision already make them something special.

Ragan's insightful writing lends itself to both anthems and love songs, revealing the singer/songwriter's maturity and savvy. He just needs to trust his vision more.

Sweet, smooth, sincere, and smart, Dreams is an unexpected plush pillow from the group.

[It] doesn't necessarily mean that every cut is cohesive but Shakira is the rare pop star who can pull an album together through sheer force of personality.

In a lot of ways, Stereolithic sounds like a classic 311 album.

Some of these versions work better than others, but they're all imaginative and worthy and, best of all, they prove the producers' thesis that there is a lot to discover within Dylan's '80s catalog.

Range of Light's unifying theme of the Sierra range is heartfelt, and when enjoyed as a whole, the album succeeds as a unique effort that is familiar, yet distinct and extremely personal.

Coves' flair for drama sometimes outpaces their ability to write memorable songs, but Soft Friday's best moments are so good, and its overall sound is so vibrant, that it's a more than promising debut.

If there isn't much spark, there is a surplus of warmth; the trio is comfortable and relaxed, and it's hard not to succumb to such friendly, familiar vibes.

Back in the day, Remember Me would have been titled Gas Pedal: The Album, so feed off the good times and clever ideas that power this party record because Sage is a great host, juggling familiar and fun with ease.

The predilection for ruminative introspection eventually gets a little heavy, but on a track-by-track basis this collection is very good.

It's overflowing with excitement, optimism, and overwhelming beauty that distract you just enough to disregard the sounds of rustling footsteps behind you growing closer.

Angel feels like a continuous, slow-motion sunset on a coastline in a dream. It's new territory for Pure X, but when the elements of '70s radio rock and Sunday-morning soul come together, it results in some of their most tuneful moments.

Tweens may be a little uneven, but its successes and opportunities for growth make it a promising start.

Equal parts whimsical and despondent, it's Disintegration-era Cure wearing an Imagine Dragons hoodie that's trying to have an LCD Soundsystem, "All My Friends" moment, and while the Faint don't quite pull it off, they're all the better for trying.

There's warmth in Was' production and honey in McBride's voice and if the combination can sometimes result in too-sweet tea, it's nevertheless soothing.

While the pedigree of this project is certainly strong, Inventions stands strong on its own, so although fans of Eluvium and Explosions in the Sky won't have any trouble digging into the album, being a fan of the duo's previous work isn't a part of the price of admission.

The various elements of grueling, confused rock nihilism and clear-headed spirituality result in some new kind of cosmic punk, existing on a strange galactic plane somewhere between chaos and enlightenment.

Pattern Is Movement display their visions of skewed pop in bold, vivid colors, with faint echoes of their mathy past buried but still audible through the walls of joyous noise.

Artful and ambitious throughout, Oh, Common Life may not bring cheer to most listeners, but the passion informing both the lyrics and the music shows that Fireworks offer something genuinely life-affirming despite their dour surfaces.

There's enough of Thee Oh Sees' personality in Drop that fans will readily recognize it, but if you've ever been turned off by their layers of skronk, or the acid-damaged travels into the sonic wilderness, Drop could well be the album where this band finally catches up with you.

Fear in Bliss is a lovingly crafted and well-written album by a young band coming into its own.

What saves this album from being just another version of some guy at the bar going on and on about some lady he lost is E's subtle and easy way with a melody, and even though some of these songs are so slow as to barely have a pulse, they flow well and easily into and out of each other.

Minimum Rock N Roll is spare but solid, and offers some real rock & roll kicks along with a dash of radical food for thought, something in short supply on the indie scene in this day and age.

Get hip or get irked because either reaction is worthy of this loud, smart-ass joke put on loop, but not since Disco Tex unleashed his Sex-O-Lettes has there been such a cheeky way to keep dancing.

It's not a perfect record, but noteworthy for its musical risk-taking and assertive attitude.

We Are Catchers lets you choose your level of engagement: listen to the pretty tunes or dig in and feel something. Either way, listening to the album is a treat and those who like their pop soft as clouds should find plenty to love.

While Hard Boiled Soft Boiled's polarized presentation sometimes makes these songs seem more monotonous than they actually are, the album's highlights are on par with Odonis Odonis' previous bests.

With few duds to speak of, The Space Project sees most of its contributors turning in high-quality material, interacting with the sounds of the unknown in inventive and inspired ways.

Plague Vendor have captured the feeling of youthful defiance that spurred the genre's pioneers to action, and while their debut might not be long enough to be the soundtrack to your late-night antics, it's the perfect album to light the fuse on a night you probably won't remember in the morning.

Shrink Dust has some truly inspired moments and fits right in with VanGaalen's building mythology.

Dalle sounds comfortable, confident, and liberated on Diploid Love, and she gives listeners a more complete portrait of her artistry along the way.

When taken together, the tracks on III provide incontrovertible evidence that 15 years after their career ambitions went up the chimney, Death continued not only to make music, but to evolve and grow as a band. Even though this music is less intense, it retains the trio's trademark sound throughout.

These tracks amuse and torment in roughly equal measure.

Supernova is unapologetically and indulgently retro; a casual listen might dismiss it as mere nostalgia. But pairing Auerbach's detailed, careful production with LaMontagne's open, expertly crafted songwriting and breezy, sensual, emotionally unburdened signing, that boundary is shattered.

In all, Sky Swimming is a lovely, impressionistic debut that suggests Elephant are on the cusp of delivering even more.

Artificial Sweeteners may not be their most instantly impressive album, 2008's Lightbulbs still has that honor, but it does sound great on first listen and continues to sink in deeper with each subsequent spin.

[The Birds of Satan] deliver a batch of songs combining the muscular intellectualism of Queens of the Stone Age with the melodic passion of Foo Fighters.

Devil sees them continuing to move forward again, and although Hale's presence will certainly be missed, fans of the band will find that the return of Frost and Owens more than makes up for the loss.

Red Beans and Weiss is a greasy, gritty report from one of L.A.'s last original rock & roll street denizens. It has a grimy charm all its own.

The preponderance of funky synthetic (and real) horns, fat grooves, and African and Eastern polyrhythms make Someday World an excellent exercise in beat-conscious, electronic art pop.

Sure, there's artifice and humor here, but there's also heart, and this blend of emotions is what makes A Letter Home one of Neil Young's quintessential, endearingly odd records.

Natalie Merchant is not a progression so much as a deepening and, as such, it offers a quiet comfort for anyone who has ever loved her music.

While some of these cuts are forgettable, his inventive engagement with Latin pop here is not only successful, but satisfying.

Throughout it all, the album's sounds are so transporting that they carry the less accessible moments and make Breathing Statues an entrancing second effort.

While Creative Adult's short-fuse energy made their brooding earlier EP releases exciting, they've managed the difficult task of keeping that fire alive throughout what ends up being a lengthy and considered album, burning with a dark fire for the full duration of the 12 songs presented here.

Lane's songs and delivery are strong throughout All or Nothin'; they're more polished and crafted than those on Walk of Shame.

The moments of pop are catchy and engaging, but far more compelling are the songs that dig deeper into tense dynamics and protracted storytelling.

Life Among the Savages isn't the easiest Papercuts album to love, but over repeated listens the mood the restrained sound creates and the subtle emotion the songs convey are more than enough to win over anyone who decides to stick with it.

One iffy joke don't stop no show, so take White Women as fun, frivolous, and floor-filling stuff where that slick '80s flair is gloriously bolstered by that modern dancefloor punch.

Along with the pseudo-bossa nova rhythms of "Naturally" and rolling melodic synth pop of "Heartless," the album takes gradual steps forward and shakes out to be one of Savage's more consistent collections.

The folk singer/songwriter side of Mulvey is the one that is shown for most of the record, while his extensive influences flit in and out of each song, leaving their mark in the percussion, melody, and arrangement, but never taking center stage in his impressive repertoire.

Timbaland and Reid evoke the Michael Jackson we all love and miss, finding songs that are worthy and giving them arrangements that are simultaneously nostalgic and modern. It's a difficult trick to pull off but they largely succeed, so XSCAPE is a worthy and memorable coda to Jackson's career.

Aldred is in top form here, and with Elliot's help he's unearthed a music box filled with undeniable loveliness, but the songs are as fleeting as they are lustrous; museum pieces without placards.

This album easily captures Guided by Voices doing what they've always done and always will do--ride their seemingly endless font of catchy tunes and crunchy riffs into infinity, and though this is no career-defining masterpiece, as a make-busy project for five guys stuck in a snowstorm, it's pretty great.

Perhaps there are no permanent additions to her canon here, but the remarkable thing is how satisfying an album this is: it sounds good and the songs are sturdy, proof that Parton is far from resting on her laurels.

It's both club- and cafe-ready, artsy, cool, and elusive enough to woo the Williamsburg contingency, yet soulful and lightly sweetened with warm Southern honey.

Shade Themes from Kairos is striking in that it not only hosts a variety of tones and colors based on dynamics, textures, and yes, the illusory stretching of time, but it reflects a true collaboration by principals who are actually investigating what the possibilities of the latter might sound like were it actually possible.

It crash-lands, abruptly ending an album that, depending on the amount of time spent with it, will seem either fragmentary and hollow or fathoms deep--either a trifle or among the group's most remarkable work.

Without reinventing the wheel too much, Newcombe delivers another slice of his breed of highly evolved rock & roll genius with this album, further polishing his ever dangerous songwriting skills and offering a vivid spectrum of production, stylistic distractions, and psychedelic black holes for the listener to get swallowed up by.

The result is a relaxed, conversational album with stronger songs than some of the band's earlier efforts, looking over concepts of aging gracefully without succumbing to the clichés that often come along with such trains of thought.

Carey unfortunately doesn't feel nostalgic for the succinctness of her early albums, but this shows that she's still capable of delivering 40 minutes of strong, supremely voiced R&B when she's up for it.