This record is more cohesive than the debut, partially due to the presence of Weiland's old STP producer, Brendan O'Brien, who lends the recording color and texture that enhances the melodies while still giving the guitars considerable muscle.

In the end, Pink Friday is an ambitious, glossy stunner if fashion week is your favorite time of year, but Minaj didn't earn her diva status this way.

Steel Magnolia are an able, energetic, vocally savvy country pop act, and stress the word pop in that phrase.

A pure speaker-blowing party record, Biasonic Hotsauce is a vast improvement on Bias' previous effort, but it's difficult to see it making any waves outside the South London underground scene.

Beautifully crafted, if slightly inconsistent, Underrated Silence is undoubtedly still more of a mood setter than a head-bobber, but it's a far more challenging and ultimately rewarding listen than your average chill-out fare.

Come Back as Rain may be the perfect summer soundtrack for listeners looking for a less cerebral Band of Horses, a more ecumenical Fleet Foxes, or just a damn fine group of musicians with a knack for kicking out youthful, country-tinged pop songs without an agenda.

Rather than a catharsis or even an explosive slab of entertainment, Slug Guts have coughed up a visceral collection of desperate howls, sometimes difficult to engage with, but equally difficult to ignore.

The more physical moments are nearly outshone by a set of beat-less ambient pieces that amount to some of Locust's most riveting work.

Thanks to the introspective nature of the songs and the mannered production, they took something totally alive and wild, and wonderfully fun and exciting, and not so magically turned themselves into just another dime-a-dozen indie rock band.

Where My Weekly Reader shines is on the quieter moments.

No Manchester is a delight from start to finish, while being the absolute best kind of tribute album. It brings out what's special in the songs while giving them new life in a brand new context.

Like many a Christmas collection, the record becomes less elegant on sillier tunes like "Must Be Santa" (derived from a German drinking song) and a strangely plaintive version of the Chipmunks' "Christmas Don't Be Late." These diversions are limited, though, and, remarkably, don't include a rather beautiful rendition of "Mele Kalikimaka." Taken together, Christmas Party is a charmer.

At its best, this debut is a joyful testament to coming out the other side of trauma, though at times, some of the arrangements rely a little too heavily on repetition, taking the album's title quite literally. Still, it's nice to hear Johnson step out on his own and deliver a meaningful set of songs.

While it doesn't feel quite as honed as some of the Cribs' other albums, 24-7 Rock Star Shit is a lot of fun, as well as more proof that the band's eternal tug of war between grit and polish still generates excitement.

Taking on both the BS and sobering-side-of-life lessons while straddling genres would be difficult for any musician, but Sage did it and came up with a B-plus effort. More tangible proof that he’s a gifted artist.

What any of this has to do with rodeos (although they come up in the lyrics) is anybody's guess; Dawn Landes is no cowgirl, but rather a quirky indie singer/songwriter with a light touch.

[A] rare, pleasingly unfiltered debut that captures an exciting upcoming artist with little refinement.

The truth is this sounds less like a 50/50 collaboration than a Joseph Arthur album with Peter Buck pitching in. Which is not at all bad, of course; as usual, Arthur's lyrics are bold, clever, and incisive, his vocals are passionate and reveal just the right amount of drama, and the melodies are strong, with Buck adding an extra spoonful of melodic bounce.

Helpfully rounds up 18 of these guest appearances, including a cut by the Jones-fronted country cabaret outfit the Little Willies, and what impresses is the range of collaborators and the consistency of the music.

This volume is a success and points the way toward new and compelling -- if still amorphous -- territory between rhythmic and electronic improvisation.

Just Go, slightly more so than Coming Home, tends to be a happy (and comforting) medium between Richie's familiar approach and contemporary R&B.

Nasty as he wants to be, Ghostdini is nothing more than the Face and friends having a good time. The results are as improper as they are infectious.

The strength of the album is that it doesn't sound like it was written by a bunch of Nashville pros--its mellow vibes and occasional soft romantic touch feel true to Currington.

These songs also reflect how When Saints Go Machine have expanded and enriched their sound on Infinity Pool even more than Konkylie might have suggested.

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

Ultimately, Dead Man's Town is a good idea executed poorly, an effort to peel back the veneer from Springsteen's songs that manages to toss away much of the core at the same time.

King Gizzard & The Lizard Wizard have never been known for being concise or streamlined, but they show on Quarters that blowing out (more than usual) their sounds and elongating their songs to extremes works really well for them.

The instrumental interludes between tunes--the aimless meandering of "Muddy Dune," the squiggling "Ash Toke," and the squall of "Pincher"--are just long enough to distract and blunt the twisted, head-crushing impact of Kunk somewhat.

Live Life Fast is a strong sophomore effort, one that finds Ricch taking a few moderate risks alongside his attempts to repeat the approach that worked so well on his debut.

Audio, Video, Disco might just be the quintessential example of pop music in the Internet world where everything is available, and available to shuffle, but the main point is good times, great record.

Tennis are making some of the best pop music around in 2012, and that's plenty good enough.

Echoes of the Beatles, Harry Nilsson, the Beach Boys, and Phil Spector are everywhere, and while those aren't exactly unique or even very interesting reference points in 2005, Hal again go beyond imitation and use their influences as a good band should, as guides and not blueprints.

At its best, the album is bracing, capable of winning over the cynics who are not particularly open-minded about crossover dance music.

An 11-song set of dusty, horn-laden, highway driving, drink-spilling heartache that stands as the group's most solid piece of work to date.

Lennox has crafted an album that brings to mind the sophisticated, contemporary sound of her original studio releases while allowing her to revel in the grand popular song tradition.

If calling Nosebleed Weekend the Coathangers' most professional work to date sounds like damning with faint praise, it admirably confirms this band isn't messing around.

Pop music styles change faster than they wear out, and Mohager convincingly makes the case that there is more to say in the music of the '80s, even if fashion has banished it to its own radio formats and nostalgia tours.

Beauty Already Beautiful is bold, soul-baring proof that Spookyland knows the best rock & roll is all about unexpected contrasts; even when they nod to decades' worth of rock history, they sound vital, never lazy.

The overall production aesthetic is slick and appealingly moody, with the hint of a smile to reveal just how much fun Rouse is having dabbling in this sonic milieu. It's a welcome break after the heaviness of his previous outing and, with his smart pop songwriting and clear vocal delivery, the veteran singer takes quite easily to the role of new romantic bard.

Musically, Kasher is all over the place, laying down enough staccato horn sections, sweeping strings, and quirky time signatures to give Sufjan Stevens a run for his money. What the Game of Monogamy occasionally lacks in hooks, it more than makes up for in style.

Loyal listeners looking for a more "personal" album from the band will have fewer complaints, but the casual fan will miss the more dynamic and vibrant elements of their earlier work.

Even though the album has a transitional feeling, Foxy Shazam still manage to make their sonic renovation a fun ride, and The Church of Rock and Roll is an entertaining stop on the musical journey.

There may be a bunch of bands traveling the same psychedelic back roads as Salvia Plath, but Collins and company ride with style.

Recalling names like Tomberlin and especially Julien Baker, Ellis' melodies are much less memorable than her plaintive sentiments, likely limiting Born Again's appeal to the heavyhearted.

If it didn't capture the fun of '80s pop, it just wouldn't be Chromeo. And for their third album, Pee Thug and Dave One are as campy and faithful to their roots as humanly (and robotically) possible.

They are all solid examples of the band's unique blend of indie sweetness, psychedelic experimentation, and solid songcraft.

Ultimately, Origin, Vol. 1 is a look back through the past -- musically, personally, poetically, and culturally -- as a way of moving toward the future, celebrating its influence and shaking free of its baggage.

Not so much a letdown as a comedown, One Way Ticket to Hell...and Back just shows that the giddy highs of Permission to Land aren't so easy to get the second time around.

At its best, on songs like "Monologue for an Old True Love" or the Nancy & Lee-styled orchestral country duet with Eugene Kelly, listening to Amorino provides nearly as many musical thrills as listening to a good B&S record.

Unlike The Juliet Letters, North never feels like an exercise, nor does it feel like Costello has something to prove.

It might come off as too much of a mish-mash if not for the tongue-in-cheek glee with which Leroy pulls it off.

DeGraw's unique production mastery finds some of its most vivid articulation on Sum/One, and sinks its hooks in effortlessly despite the fearless weirdness that comes through on every track.

Edited down from performances in London, Melbourne, and New York City, the 15 tracks that populate the lovely and inspiring Way To Blue: The Songs of Nick Drake feel far more intimate than the live tag would suggest.

All Hope Is Gone as a whole winds up being as bleak and unforgiving as its title.

Like the trio's eerie, 2010, eponymous debut, 2011's Nightingale feels like a relic that's been spruced up, remixed, and then planted back in the earth for some future generation to stumble upon, crack open, and germinate a scene with.

Despite all the outside input, this is Diplo's show.

Brettin tries a lot harder to sound weird on Skiptracing than he did on Timeline, and the result is a more vivid album.

The "unplugged version" has become a common trope in rock music; more often than not, it appears as a listless bid to extend a parent album's commercial lifespan for another year or two. Que Dios Te Maldiga Mi Corazón, while quite possibly achieving that aim, feels like something more fully realized and artful, and carries more weight than a mere catalog curiosity.

Bleachers occasionally borders on indulgent, but its tangents and loose ends are part and parcel of Antonoff's process -- and part of what makes it such a complete self-portrait.

Crafted with artist Chris Shen, the album is a spatial wonder, reflecting the outdoor nature of its title with a soundfield that sounds like the great outdoors.

Angel of Retribution does indeed rock just hard enough to please longtime fans and convert a few new ones along the way.

The Prefuse of past years is replaced by plenty of airy distortion (reminiscent of his work with the Books and his side project, Savath + Savalas), and nods to the hip-hop beatwork of his early Warp records.

Adiós I'm a Ghost falls somewhere between the band's critically lauded sophomore release Tidelands, which was full of thoughtful atmospherics, and the looser, rowdier debut album Don't Be a Stranger.

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.

Bieber makes all the right, charming moves for a teen, and he covers all the bases. The dance-pop songs are light on the ears yet memorable; the unrequited material sounds deeply felt; the ballads have all the necessary us-against-the-world teen-love dramatics.

This is a Western album where ghost towns stand silent and the stars shine bright at night, but the heroes don't so much ride off into the sunset as sink into a shimmering haze of a late-afternoon mirage.

Into the Future fares better than the stale output of most reunited punk acts and also rises above a weak rehash for the sake of nostalgia. Always true to their original vision, Bad Brains continue sailing on.

As a Belle & Sebastian album, Days Of The Bagold Summer may be a bit slight, but as a soundtrack it is considerably more cohesive and alluring than Storytelling, all due to the group's increased mastery of texture and feel.

Strange Dance is gentle enough to constitute adventurous background listening but complex enough to reward a closer inspection, a curious combination that is not without appeal.

As a debut album, however, Wrecking Ball is a hit-or-miss effort that only hints at the band's potential.

In a way, the album seems like a bit of a farewell to an old friend, with lots of wistful moments to be found under the layers of synths and fuzz all throughout the album, really nailing home the Death Set's method of mixing the old with the new to create something that strides boldly forward as it fondly remembers where it came from.

There are clever parts strewn throughout and some of the more ambient instrumental tracks like "i.v." and "l.i.v." are quite nice, but overall, the songs themselves don't have quite enough going for them to support the album's quirky intentions.

It feels like they could keep making these records forever with no diminishing returns; the level of quality and imagination never drops an inch on LP4.

This is a graceful set, lit with pretty melodies, subtle instrumentation, and lovely singing from both bandmembers. As introductions go, it's a charmer.

He may have lost the plot for a bit, but Page is back and his pop sensibility remains sarcastically, unsparingly intact.

While this decision [to a trimmed down from the five-disc] might disappoint some of the film and film score geeks among Francis' fans, the album still has plenty to offer, not the least of which is Francis' reunion with longtime collaborator Eric Drew Feldman. Feldman's keyboards and Francis' voice and guitar just sound natural--and immediately recognizable--together.

Taylor's chameleon-like always-hiding-in-plain-sight aesthetic gives us a poignant, compelling recording that warrants repeated listening.

Hansard and company play it safe on the title cut... while the three original cuts, the evocative "Pennies in the Fountain," the soulful "Renata," and the empowering, completely a cappella "Step Out of the Shadows" should please fans of the Once star's 2012 solo debut, Rhythm and Repose.

It's the kind of music that will always be polarizing, as some fans buy into it with fervor and zeal while other cringe from the first chord.

The album is all about comfort and steady, forward motion.

Living Legend is a non-stop gangsta party connected to the street, offering a more approachable alternative to Ross' grandiose LPs.

In these songs Maal continues to celebrate his people, his culture, and the Fulani language, even as he presents the listener with challenges to their preservation from inside and outside Senegal.

Moaning is an undeniably powerful debut which sounds astonishingly mature and accomplished for a first effort.

As a whole, Hundred Acres is a pleasing listen with a warm-hearted, pastoral feel, even if its nuances sometimes get lost in the cracks.

Equally raw and sleek, Pinned is one of the band's most cohesive albums--even if change is a constant in A Place to Bury Strangers' world, so is the quality of their music.

Personne d'Autre finds Hardy in full command of her authority as a songwriter and, despite her voice's wear and tear, the full weight and charm of her signature as a singer. If this is indeed her final recording, it's one she can be proud of and one for fans to celebrate.

At a scant four tracks, The Roadside EP hardly marks a major release from the veteran artist, but in lead single "Bitter Taste," he presents one of his better late-career offerings. ... The other two cuts, "Rita Hayworth" and "U Don't Have to Kiss Me Like That," are well-executed, if forgettable tracks that harken back to the singer's '80s heyday.

While As I Try Not to Fall Apart probably won't pull in any new fans, it has a sultry, back-of-the-club intensity that speaks to White Lies' ever-deepening artistry.

While other 1D members might grab more of the public spotlight, Tomlinson proves his strength as a songwriter and voice for fans with more complex, deeper emotions.

LAROI reveals a growing maturity and surprising pathos on Before I Forget. He brings you into his heartbreak and holds you there.

This may be Ladytron's most difficult album, but it's also one of their most cohesive.

Not every moment on Slow Dance is this transporting, but it still has its share of fascinating moments.

As dazzling as Entanglements can be, its polish and uniqueness makes it more polarizing than anything Parenthetical Girls have done before.

This trio pulls off a chosen weave of hybrid roots sounds with seeming ease, passion, and verve. No one else performing Americana or crossover country music attempts anything like it, leaving the trio in its own class.

While the rap-preferring fans will still gravitate to his first two efforts, listeners with an appreciative ear for his genre-sampling maturation into the mainstream will find Twelve Carat Toothache to be a fascinating emotional exploration of a conflicted artist who can't help but churn out star-making hits at the expense of his own happiness.

Nothing on Aquaria seems out of place, but each song brings something new to the party.

Even if there's a lingering predictability in the paths the Foo Fighters follow on Sonic Highways, they nevertheless know how to make this familiar journey pleasurable.

It's an ambitious egotistical solo release, and one with the chops to pull it all off. The well placed spaces and lithe textural moments of delicate instrumental engagement and interlude prevent Elect the Dead from going by in a blur.