It would be unfair to call Black Hours a missed opportunity; even if its glimpses at fresher musical territory are tantalizing, Leithauser carries on the Walkmen's tradition in ways that fans will welcome.

Together, these two Unplugged Sessions--which, in this incarnation, include 11 performances not featured on either broadcast--make for a bit of a treat for hardcore R.E.M. fans, a document when the group was near the peak of their powers.

Plenty of other modern acts have gone for the gold with this type of powerhouse, '80s-inspired electro-pop, but Kibby's material feels more memorable and has the weight to back up the heavy production.

This is an understated and promising first step from an unpredictable and distinctive talent.

While Lee Bains III & the Glory Fires may be a great rock & roll band, they haven't quite cracked the code on making a great album, at least in terms of audio, and Dereconstructed manages to be impressive, encouraging, and frustrating at the same time.

Those eight songs are noisy psychedelic pop at its best, however, on par with anything else treading a similar path.

Underneath the amplification, the songs are still there and still sturdy, but the buzz of stomp boxes hides that craft while also suggesting the songs run much longer than they do (most of the songs barely tap out over three minutes).

Ultimately, on Towards, We Were Evergreen have moved slightly left of the indie pop center and achieved something quite interesting and enjoyable.

Like the late-night cautionary tales that play out in their songs, the real key to enjoying The Orwells is to just not overthink it and listen and enjoy the music, because time spent pontificating about their age is time that could be better used for partying.

La Grange's newfound electronic experimentalism also fits nicely next to works by her similarly inclined contemporaries like Goulding, Grimes, and Alex Winston, adding a unique and unmistakable twist to the subgenre that makes it seem all her own.

Those who continue to stick with the band will find themselves rewarded with another fine addition to an impressive catalog and an example of grown-up psych pop that's both calming and soul-searching, while never being anything less than completely enjoyable.

Heavy Reverie does seem a bit like a holding pattern, which isn't necessarily a bad thing, not with a band as good and as maverick as this one is, but it leaves one wondering just how good these guys could be.

There's a take-it-or-leave-it quality to Await Barbarians' open-ended, unvarnished songs, but more often than not, Taylor draws his audience into the album's world in a way that feels like a visit with an old friend.

Even though Vek doesn't find or offer any easy answers on Luck, its highlights capture the most challenging and engaging parts of his work.

An equally strange and sexy debut, Zaba's most audacious moments suggest Glass Animals will be an even more compelling act next time around.

As it is a Chrissie Hynde project, it is a little inconsistent, sometimes sagging on ballads or dragging its feet at mid-tempos, but there are several strong additions to her canon and the overall feel is appealing and, thanks to her unexpected collaborator, fresher than expected.

Ultimately, with Love Me, Barfod has crafted an album of highly engaging, emotionally resonant pop music that's as creatively rewarding as it is accessible.

It all makes for a complex, often beautiful debut album that affords Kelly even more expression and possibilities than what he's done before.

Ultimately, with Whispers, Rosenberg has crafted an album of sweet, hummable anthems for tender-hearted troubadours everywhere.

This is a promising debut with flashes of brilliance that shine even brighter considering Pulos and Laffer's youth when they made it.

Her performances evoke all the anger and passion of the alt-punk heroes that inform White Lung's sound, but surpass many of them when it comes to control or the incredible clarity in her spitting, snarling delivery.

As severe, wild, and dissonant as they can often be, Greys somehow manage not to take themselves so seriously, making If Anything an inviting debut full of character and some ferocious playing.

Bright Side of Down should resonate with Gorka's fans and those of modern American folk music.

By the end, listeners will feel like they've been laying out in the sun all day, warm in the glow of the Donkeys' heartfelt love for all things Cali, complete with the sound of washing waves and seagull cries.

The final result, Don't Wait Up, appeared in June 2014, and was a fitting final salvo from the band, loaded with tough tunes and powerful messages that pack an additional emotional punch as the band rides into the sunset.

Even when he's screaming laughably about demon lovers and being swallowed into the bottomless pit of despair, Cowgill seems to have a meticulous eye on his songwriting skills first and foremost, keeping Fear more interesting than heavy-handed.

The overall effect is a band that's dug in their heels in the studio and is going to make the most of the way the individual voices bounce off one another, and if they're shooting for something less challenging on Favorite Waitress, the feel of the music clearly seems to suit them.

Far from sounding as if they're grasping at straws, Linkin Park seem rejuvenated, proving there is value in the cliché of returning to roots.

Lower stand out for their unique blend of cathartic explosions and restraint, creating something remarkably powerful in their use of dynamics and tense pacing.

Liberation! remains highly listenable and likeable, keeping its potentially edgy sentiments hidden just far enough behind Bauer's knack for penning memorable, evocative rock tunes.

While this might mean that Jaded & Faded lacks the reckless energy of its precursor, it's ultimately a more adventurous and interesting album because of it, proving that Cerebral Ballzy are more than just a group of guys with a keen interest in hardcore.

Last Dance is a necessary addendum to Jasmine; it fleshes out the confident, mature, amiable, and eloquent speech in the canonical language these two jazz masters share.

While(1<2) is a very good, very restrained, and very inspired Deadmau5 effort.

2011's Ninth was the leanest and most immediate collection of new material from Peter Murphy to arrive since the late '90s, and Lion, his tenth long-player, while a much different animal (pun intended) sonically, goes for the jugular in a similar fashion.

The album is a lean, mean machine of singalong revolution songs and baggy jeans dance music from folks old enough to be wearing fitted by now, but the hunger to survive and flourish is as palpable as it was on their debut.

An immersive album that feels designed to be taken as a whole, What Is This Heart? reveals How to Dress Well coming into its own.

With Geist, Stagnant Pools haven't made any leaps forward, more like a small step backward into something even more interesting and powerful than before.

These gangly excursions in rap are evidence of Sheeran's youth and his generation, something that keeps X from being merely a bit of excellently crafted mature pop and gives it some appealing character.

When GusGus joined Kompakt, the association seemed odd--almost charitable on the label's part--but now it makes total sense.

Songs like "Woke Up to the Light," with its seemingly innocuous Alphaville "Forever Young"-inspired foundation and the churning "Mirage Year," the latter of which explodes into a full-on sonic assault that sounds like it must have taken weeks to clean up after, present themselves as measured and somewhat even-tempered, but like the majority of Heal, they're barely contained time capsules on the verge of catharsis, and whatever beauty they possess will ultimately burn up upon re-entry.

Even though the band isn't doing anything that listeners haven't heard before, the album's lyrical depth will reward fans who take the time to sit down and really explore the record.

Gamel is a frenzied and ecstatic experience, and one that ends up being brilliant in its bizarre combinations of sounds and ideas.

Mosaics Within Mosaics may be the project's most ambitious sonic scrapbook, but its masterful presentation makes its cornucopia of found-sound indie micro-symphonies float by gracefully.

The strength of the songs and the powerful energy with which the duo deliver them help them escape any charges of ripping off the past.

The constant repetition with more or less subtle shades of developing dynamic and texture in all but the last of these tracks creates a nearly endless groove. And perhaps that's the album's point, creating an album of dance music that's fun to listen to; a mirror image of Someday World's more carefully structured avant pop.

Ultimately, 5 Seconds of Summer have crafted an album of songs that stick in your head like neon bubblegum on a hot summer sidewalk.

The details of bandmember identities and backgrounds quickly become extraneous in light of the wealth of intriguing sounds presented on this incredibly well-constructed debut.

On Terms of my Surrender, Hiatt has the blues, and he's got the goods, and this is another solid chapter in a recording career that's drifted into an unexpected but pleasing renaissance.

On Chroma, he's got enough lines in the water that he's bound to get a bite sooner or later.

Take Me for a Walk in the Morning Dew is a triumphant comeback album, updating older tunes with a modernized production and new tunes showcasing Dobson's voice.

Braid continue their story here, branching out in new directions and leaving room to wonder what comes next.

Redeemer of Souls is also the loosest (attitude-wise), leanest (arrangement-wise), and most confident-sounding collection of new material the band has released in ages, and while it will forever tread beneath high-water marks like British Steel and Sad Wings of Destiny, it most certainly deserves to be ranked alongside albums from that era.

As a whole, Model of You shows a marked improvement from their debut and a distinct line of evolution, which is tough to pull off in such a short gap between releases.

Can't Love is a promising debut that suggests any number of directions for Stanton and company.

Morrissey isn't living up to what he should do, he's doing whatever he wants to, whether it makes sense or not. That fearlessness may be reckless but it's also welcome.

With songs like this, Trouble in Paradise proves Jackson is still better than many of her contemporaries when it comes to making fizzy electro-pop.

Fans of cool, retro-minded indie pop will embrace integrating this set into their playlists for the warmer months and beyond.

Complete Surrender shows that Taylor and Watson are willing to stretch out and continue their evolution as they deliver a strong third outing.

The result of hearing Ishi in full is a desolate, somewhat submerged feeling, with both the sounds of space travel and the light years of loneliness and isolation coming through in the album's many layers of gentle noise and spiraling synth leads.

Family Crimes sees Skygreen Leopards light years away from the experimental, communal folk sounds that they were drawn to in their earliest days, but still retains the same distant dreaminess, though it's more dedicated to melody than any other chapter of the band's epic, shifting discography.

As always, L'Aventura is rife with touches that knowledgeable listeners will appreciate, but anyone with a fondness for smoothly retro mood music with lots of personality will find a lot to enjoy.

Conversations ends up a fine debut from the band, tightly focused and carefully constructed but still filled with plenty of understated heart.

While there's a small but significant gap between Honeyblood's outstanding songs and the rest of the album, it's still a debut full of moments of depth and moments of instant gratification--as well as lots of potential.

The patient melodies and glowing sonic architecture of these lovingly crafted tunes manage to weave their way into the listener's subconscious, coming on with a deceptive lightness but leaving deep impressions.

The duo don't put a wrong foot forward, and they've made an album which creates that kind of mood perfectly, which isn't easy to do, and making for an even more impressive debut, it's their first attempt.

Dawn Golden merges crushing emotional currents with innovative production for a debut that's bold and crisp, if somewhat harrowing in its darkest moments.

With over a decade of releases to his credit, Elbogen continues to carve out his own distinct world that combines a smart wit, a strong will, and some solid pop songwriting.

There is a widening sense of exploration at work here; the considerable benefit of that aesthetic is clear even when it falls a tad short of the mark.

2014's more than servicable Strange Weather EP rounds up five covers, all of which are delivered with the usual impeccable taste and gothic flair that have become Calvi's trademarks since her debut in 2011.

Black Market may not be the enraged political album that fans want, but it most definitely feels like the cathartic self-examination Rise Against needed, proving that a move doesn't have to be loud to be bold.

This has the potential to serve as a good sampler for those interested in the ethnomusicological side of contemporary chamber music.

There's a shared past that's evident in every moment of this debut, and that natural, relaxed camaraderie is the reason why No Fools, No Fun is such an appealing listen.

Real is a rare metalcore album with enough depth to demand repeat listening, which definitely won't disappoint the band's die-hard fans.

Ultimately, it's those romantic details sung with sincerity and a dash of infectious, female-empowered punky 'tude that make All the Ways You Let Me Down work.

If there is a heaviness--an emotional weight that seems to be bearing down upon Christian and Anberlin throughout Lowborn--chalk it up to a band nearing the end of an almost 15-year career. However, despite this heaviness, Anberlin have crafted an album of deeply emotive and, one imagines for longtime fans, cathartic songs.

It's beautiful and thoughtful work from musicians who remind us art can be stark and simple and still find ways to charm and move the listener.

As a whole, Upright Behavior is a lot to digest, and whether or not listeners will find enough incentive to spend time cracking Landlady's code depends purely on their appetite for this type of challenging indie rock.

Overall, this is a generally charming debut with a very stylized sound and some solid material within.

This debut album is pretty good, and this band shows a lot of heart.

Here we get her bright, puckered vocal attack showcased on a bevy of instantly infectious cuts.

Ultimately, with Chaidez in spotlight, Kitten is an album of swaggering dance club passion that aims to move your soul as much as it does your feet.

A deep, heady trip, No Time is a step forward for Soft Walls that builds on the debut's strengths and suggests even more potential for Reeves' future solo outings.

Having the songs preserved on record undercuts that intention slightly but this is still an odd, delightful collection of tunes and it's nice that non-musicians--and listeners with an aversion to homemade YouTube renditions--get to hear these now too.

The members of Hooray for Earth are locked in with each other and offer up a riskier, more mind-expanding take on their formerly polite sound.

McLagan's easy but powerful groove makes United States another satisfying episode in the life and career of a true rock & roll believer.

Time Is Over One Day Old is a subtle and moody work that somehow manages to keep moving forward with a mechanical precision, giving one the otherworldly, but not at all unpleasant, feeling of standing still on a moving walkway.

The great tracks are incredible and the rest are not too bad, but Being is strong enough as a whole to offer hope that Mozart's Sister is a project still finding its voice, with even better work ahead.

While The Feeling's playfulness is missed, on Television Man Naomi Punk are a more singular, more insular act, and their cerebral approach to visceral sounds is still fascinating, if perhaps a shade less novel than before.

For quite some time, it has been obvious that RX Bandits have wanted to be more than just a ska band, and on Gemini, Her Majesty, they appear to have evolved into something else altogether, and though some veteran fans might miss the old sound, there's no denying these guys have the chops to pull off this new and inventive approach.

Spider Bags didn't seem like a band that would welcome maturity, these songs show they're growing into it in their own slightly sloppy way.

Yesterdays is a heartfelt memorial to a fallen comrade as well as a reminder that Pennywise remember their roots well, and haven't lost sight of the ideas and ideals that drove them.

Sand+Silence shows Howard and Crisp are committed to keeping this band alive, and the album confirms they're still an uncommonly smart and talented indie pop band with a great deal to offer.

That I'm Not Bossy, I'm the Boss continues a string of strong, entirely enjoyable releases is a bonus for Sinéad's audience, but as evidenced by liner notes that proclaim "this album is dedicated to me," she's still doing it for no one but herself.

It's this kind of focus on the ennui, the mundane tragedy that permeates many people's daily lives, that works as creative fodder for Angus & Julia Stone. Ultimately, it's that ennui, combined with the pair's heartbreaking sense of melody, that makes this album a delightfully sad yet engaging listen.

Ultimately, while Lewis himself remains an enigma, the music on L'Amour offers us a fascinating glimpse of a long-forgotten Canadian pop auteur.

In the end, it's clear that the Arkells want to be a big band and they've put themselves out there in a big way with High Noon.

A promising debut with a few flashes of brilliance, Lacuna is an appealingly summery set of songs despite a few lulls in its energy.

Taken as the debut album from an entirely new band, which it should be, Wovenwar shows great promise, even if it all feels a bit familiar.