The variety of instrumentation and the rare unorthodox entry provide some balance and relief to what would otherwise be a relentlessly bleak affair.

Neck of the Woods is an even more infectious and nuanced affair.

The group's atypical instrumentation and inventive use thereof results in captivating if mercurial waves of sound and a listening experience that reveals its complex nature as it goes on.

Like its sibling Unlimited Love, Return of the Dream Canteen benefits from the positive energy of these four friends just having fun in the studio, and is designed for listeners to plug in and bliss out without any expectations of mainstream-ready fare.

From Deewee is a welcome and satisfying return from the sibling pair.

While Meloy's lyrics are sharply honed and evocative, it's this cavalcade of sounds that not only makes I'll Be Your Girl compelling, but distinctive among Decemberists albums.

Animal Feelings is still more sweet than sweaty, and may not get indie diehards to shake what their mamas gave them. Nevertheless, it more than delivers on the promise of Rafter's earlier music and fits right in with YACHT, Dan Deacon, Bobby Birdman, and the other acts fusing electronic, pop, R&B, and indie pop elements into playful grooves.

A solid, if a little subtle, debut that promises great things while delivering many very good ones.

Some of the most accessible and personal music of Hammond, Jr.'s career with or without the Strokes.

On the surface, it's bright and accessible, as easy to enjoy as the best of Paul's solo albums, but it lingers in the heart and mind in a way uncommon to the rest of his work, and to many other latter-day albums from his peers as well.

An album that's just as vital as it is accomplished.

By placing so much emphasis on the stylish ever-shifting surfaces of its production, Little Broken Hearts never quite sinks in emotionally. Norah Jones may be pouring her heart out but it's been given an elegantly detailed sculpture that camouflages her pain.

It's an evocative and wildly creative, but not immediately accessible collection.

It, admittedly, may be a bit too much for someone who isn't quite a big devotee of the band, but it's a veritable godsend for those who've been waiting for this for years.

Dynamite singing, a killer band, and wonderful material do a fine album make.

The great majority of Stand Still, Look Pretty is tuneful, tastefully rootsy, and quite engaging country-pop.

While Transmaniacon had more breadth and depth, Western Xterminator is a gleeful testament to the liberating powers of unrepentantly excessive, heavy rock.

These eight songs may not be able to be covered by anybody else, but they are wonderfully constructed, beautifully textured, and exquisitely played.

At this point, Lady Antebellum is a group that seems to know the basics of contemporary country but isn't ready to move beyond them or redefine them for its own ends. Still, this is a good beginning.

This is a stunning set, with lots of lyrical meat to chew on, and music to give one chills.

So it has the form and feel, but the devil is in the details, the songs that never quite hook and sometimes serve up some patently absurd moments, usually in the form of her overheated lyrics.

In that regard, this self-titled effort is often a tribute rather than a new way forward, but Reinhardt's work is nonetheless very enjoyable, a way to regather these various strands from any number of limiting genre associations and reuse them in a new fashion.

Rabid fans won't mind much; just make sure you're sold on Hell's Winter before taking this bumpier ride through Cage's inner turmoil.

this hodgepodge approach should certainly bring Alexisonfire some U.S. rock radio airplay, especially such standout tracks as the leadoff single, 'Young Cardinals,' as well as the album-opening 'Old Crows,' 'The Northern,' and the surprisingly tranquil and sweetly sung album closer, 'Burial.'

This disc does gather the duo's most-known material, including "Destiny," "Distractions," "In the Waiting Line," and "Polaris," all of which were licensed for several compilations and/or used in advertisements.

The real drums are a key here: the band doesn't sound as sequenced and hemmed-in as it did in the past; there's a messy, urgent pulse to the music. All the same, Trouble isn't that far removed from Short Bus.

Tignor's musical apprenticeship in the avant-garde world shows through as well, and between the minimalist motifs, flowing violin lines, and brass interjections, Light Science sometimes suggests the likes of Steve Reich, LaMonte Young, and Pauline Oliveros letting their hair down for a garage-band jam.

Thanks to the hooky and familiar songs, the exciting performances, and the perfectly executed aesthetic, Too Young to Be in Love is simply and truly a great rock & roll record.

All the pieces fit together perfectly for Brown Recluse on Evening Tapestry, and it's a pleasure from beginning to end.

A playful, thoughtful, catchy-as-hell pop record.

This is music that speaks of the heart, the soul, and the mind; her messages are articulate and well-crafted, and this ranks with her best work of the past decade.

A wonderful debut from a truly promising singer.

The Sean "Diddy" Combs connection adds a little too much gloss to the grime, hanging Lace Up somewhere between the underground intensity that it seems born from and the commercial overexposure that MGK seems bound for.

As far as graduations from mixtapes to major-label releases go, this one is still satisfying and a step forward, plus slicked up and pimped out in a way that's entirely Maybach.

No other artist combined such strong streetwise attitude with disarming warmth. She did it from start to finish.

As uneven as Curiosity sometimes is, its mix of goofiness and melancholy is compelling enough to make it hard to dismiss Wampire completely.

While this isn't a giant leap forward or a stunning diversion from previous releases, Hood's on a roll and it's hard not to welcome the usual power and polish

Musically, Adult Film is a smorgasbord of pop ephemera, with melodies crashing about like boozy butterflies, occasionally landing on an idea and then leaping back into the blue in search of less restrictive stimuli.

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.

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

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.

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.

Volume X isn't quite as consistent as Trans Am's finest work, but it's still a lot of fun and will have fans anticipating what's to come between this album and Volume XX.

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.

By emphasizing melody and feel over art and angst, Lambert's come up with a debut that goes down quite smoothly.

Often known for blending icy minimalism with textural electronics, Jóhannsson's work here is far more sentimental, telling the story of Hawking's humanity rather than his science.

Creatures is an album as wonderful as it is unclassifiable, but it is aimed at those who like warmth with their edgy art.

With only a few guest shots, plus a long track list, newcomers might find this big LP a tough go. Regardless, the ambitious Church in These Streets stands with the man's great Thug Motivation 101 while beating that album on artistic merit and meaningful lyrics.

An icy-cold affair. Proving that incarceration couldn't slow him down, the 13 tracks are packed with typical boasts, all come-at-me defiance and bravado.

I Could Be Happy's covers vary so widely in quality that, in order to thrive, Nouvelle Vague may need to put their original concept aside for good.

It's this lack of an overall aesthetic that makes Last Night on the Planet feel more like a compilation of singles than a full-fledged album; while the duo's skills are still evident, unfortunately the results aren't as rewarding as before.

This is certainly Long's most substantive release, and also a highlight of the extended Odd Future discography.

It may have been born out of frustration and strife, but Foxhole's inherent peaceful beauty and restraint make it a perfect companion for moments of reflection.

Mandela Effect is certainly more varied than Callus (which, like all Gonjasufi releases, is a heady mix of styles itself), and while it isn't exactly lighter or more listener-friendly, it often seems to get its messages across in more intriguing ways.

Novum is far better than anyone had any right to expect: It's energetic, hungry, and swaggering. That said, it retains the trademark class and musical sophistication that makes Procol Harum iconic.

There is a sameness to the tone and tempo of many of the tracks causing much of the album to blend together, but if the whole affair doesn't quite reach the artistic highs of earlier releases, the band certainly make good on their soothing intent.

This kind of proudly theatrical arrangement would suit Amy Lee well for years, and that's why Synthesis doesn't feel like a holding pattern: It feels like the start of a new chapter.

Redemption resonates because it's simultaneously Bonamassa's most ambitious album and his most impassioned record.

At nine songs, Look Alive never wears out its welcome, and its commitment to sonic versatility, no matter how nostalgia-driven, helps temper some of its more forgettable moments. In evoking the '80s synth pop of their youth, Guster have unearthed a small gem that gives off a familiar, yet undeniably dazzling shine.

Only the folksy "Yani's Song" harkens back to the group's more homespun genesis, but the likable A Blemish in the Great Night, despite housing some significant lyrical undercurrents of discord, retains enough residual heat to keep your feet warm, like a thin wool blanket designed for mild evenings.

It would be nice to hear a more nuanced and stylistically diverse album from Dion (like 2005's Bronx in Blue or 2016's New York Is My Home), but there are more than enough great moments on Stomping Ground to remind us Dion is still a major talent over 60 years after scoring his first hit single.

With the band's help, they've captured a mood on Can We Do Tomorrow Another Day? that's peaceful, easy, and a treat to dip back into whenever the stress of the day-to-day threatens to overwhelm.

Crashing Dream ended the Rain Parade's first era on a note of disappointment, while Last Rays of a Dying Sun begins a new chapter in their story with impressive strength and vision, and finds the Paisley Underground heroes still as gifted and capable as one could hope.

2025's Walk This Road, however, bridges these two eras of the Doobie Brothers, with core members Tom Johnston, Patrick Simmons, and John McFee joined in the studio by Michael McDonald, and the result is album that honors the band's rocking spirit while making room for McDonald's soul-satisfying vocal style.

Despite the preponderance of sprightly tempos and sing-song hooks, nothing about 4:13 Dream feels especially light, perhaps because Robert Smith chooses to pair these purported pop songs with a heavy dose of affected angst.

There's no disguising how Ryan Adams flips Taylor Swift's 1989 upside-down, turning a moment of triumph into bedsit introspection, a concept that is undoubtedly theoretically interesting, but the record works because Adams doesn't play this as a stunt.

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.

Smokey Rolls Down Thunder Canyon is many things--perhaps too many things, but its successes outnumber its failures, and it essentially solves the problems inherent in confining a freeform singer to time signatures and arrangements and rhythms imposed by outsiders.

You'd have to go a long way to hear a better synth pop album, no matter what decade you examine.

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

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

There's no question of Sonic Youth's continued influence on Kinski. But Alpine Static is a progression within the context of the band's own discography, and that's important.

Fallon unapologetically mines bygone eras for inspiration, but he does so with the care of an archaeologist on the biggest dig of his life.

Devil Dirt is almost a carbon copy of Broken Seas in every way (except for the decidedly cheap looking album art). This similarity could be problematic and make the album less impressive or desirable; fortunately, the formula is strong and worth revisiting.

The spontaneity on this set is more akin to a live record than a studio effort, making it a most welcome entry in his catalog.

Though Bleached are still figuring out how to use their newfound clarity, the process finds them generating sparks like never before.

Alternately blissed-out and ragingly psychedelic, this debut is one of 2008's most promising records.

At the age of 64, Emmylou Harris has made an album as fresh and distinctive as any in her catalog, and Hard Bargain is a reminder that her evolution into a songwriter is one of the most pleasant surprises in a career that's produced rewarding music for nearly 40 years.

With songs like “All You Can Hide Inside” revealing a flair for rough-around-the-edges ballads, Be Brave shows that the Strange Boys are growing--not in a self-consciously “mature” way, but enough to make them more than just purveyors of raffish garage rock.

With the wall of static dialed back a notch, the songs breathe more, allowing for Welchez and Rowell to construct some of their most immediate material.

Tidelands takes the Moondoggies in some glorious and unexpected directions, and you'd have to go back to Wilco's Being There to witness a group upping the ante on the potential of their second album with this much success.

For all the piecemeal recording, technological obsession and sheer ambition on the Fuse, Urban manages to fashion it all into a (mostly) working whole and maintain his identity as a contemporary country artist, even as he reaches for the mainstream pop fences.

Blitzen Trapper have always been at their best when the rubber meets the road, so to speak, and highway-ready anthems like "Rebel," "Stolen Hearts," "Dance with Me," and the soaring title cut don't disappoint, delivering a perfect blend of pathos and Pacific Northwest wanderlust, which incidentally is exactly what made Furr so compelling.

Thought and care are in these songs, and they all fall together in a nice flow.

Autechre certainly aren't launching any new styles, and there's no innovative music to be heard here, but Untilted does represent the duo returning to the green fields of their youth after a few years sowing their wild oats.

Given the atmospheric and diaphanous makeup of most of the tracks, along with titles such as "Casiopeia" and "Redshift," Whorl is more likely to enhance stargazing than to provoke movement.

As a debut, it has enough standout moments to pique interest in a future when Smith could stand toe to toe with his many inspirations.

Send Away the Tigers never seem heavy-handed, which is something that even their best albums often are. So, this isn't merely a return to form, then--it's also a welcome progression from a band that only a couple of albums back seemed stuck in a rut with no way out.

It was inevitable that as his skills matured he was going to move away from the strictures of reggae as a musical style. That maturity is fully in evidence on Light the Horizon, and the songs have indeed spread out into new stylistic territory.

For all the people camping out in the cold, The General Strike definitely has enough fire to keep you warm.

Perhaps what's most interesting about the album in the end is how something that theoretically consists of dated approaches in its bubbling mix of electro-rock and '70s dub and more seems to suit 2012 just fine, a sleek collage no more out of place than any other number of similarly backward-glancing efforts around the globe.

At its best, Pink Palms is quirky in the best sense of the word; it's got a lot of personality and plenty of unexpected twists. Though it might be wise for the Bots to narrow their focus next time around, wondering what they'll do next is a big part of this album's fun.

The resulting album successfully fleshes out Shlohmo's previous sound into his most accomplished work so far, and ultimately manages to find hope in darkness.

This is the first Lawrence Arabia album that fully reaches the promise shown by the first three albums, the first that works from start to finish, and the first that edges Milne close to the rarefied air his heroes occupy.

As a whole, Home Wrecking Years is worth a number of complete spins to let it decant and work its magic.

It's not Crass, the Clash, or the Pistols, but it's certainly of its generation.

His mix of wistful tenderness and cerebral darkness plays out in the songs' twists and turns as he pits Bon Iver-ian robo-soul and folk gentleness against sometimes menacing basslines and frigid atmospherics. It's an approach that agrees with him on this strong sixth effort.

Whoosh! is musically superior to its immediate, Ezrin-produced predecessors, but it's more, too: If it's the last album Deep Purple release, it should be remembered as among their best.