To be fair, the band still sounds like they could break into "Breathe" at any moment, but there's a sense of adventure and a vulnerability to Antiphon that suggests that this latest incarnation of the group is more interested in what's beyond the Dark Side of the Moon than it is standing in its shadow.

Track for track, Swamps just might be Widowspeak's most consistent work yet.

They make everything work, really, and Inventions ends up being one of the better garage psych revival records anyone's likely to hear in 2013.

An album that's only predictable insofar as you know it's going to attempt to take you on a vicious, 30-minute hell ride through some of the darkest parts of the metal world.

Much of it is among Autechre's most direct, least complex output, yet it's no less fascinating than any of their intricate material.

Cut Copy may have left behind the monochromatic brilliance of their early work, but the explosion of colors they've added like Jackson Pollock on a bender has only made their growth more interesting and enriching.

Funny thing is, most of the best moments on MM LP2 are just as angry, and just as irresponsible, but like "Closet," this is the tortured soul and self-reliance ninja known as Eminem at his very best.

The Coincidentalist is one of Gelb's most realized efforts; despite its relaxed, airy presentation, it's musically and lyrically provocative, as poetic, strange, and mysterious as the desert itself.

Guest shots from Paloma Faith, Emeli Sandé, Dizzee Rascal, and others make this one crowded album, but figuring out what to drop is nearly impossible as everyone hits the mark.

Surfing Strange is a picture of a band not in transition, but in an especially quick process of maturation. The results end up being no less instantly exciting, but more lasting and poignant than what came before.

The appropriately titled Tender Madness, more or less backs that notion [go big or go home] up with 12 emotionally charged slabs of Foster the People- and Killers-infused highway anthems, of both the fist-pumping and soul-searching varieties, that flirt with mainstream architecture yet retain enough of a ramshackle, post-slacker luster to appeal to fans of Weiss' previous outfit.

The result is terrific, a record that builds upon the group's legacy and is easily the equal of anything the band did in the '90s.

The soulfulness and melancholy of these songs make them special among Tellier's body of work, giving more depth to Confection than might be expected.

When the dialogue is combined with those wonderful performances, On Air: Live at the BBC, Vol. 2 helps paint a portrait of the Beatles just reaching the peak of their powers.

Anyone looking for some no-frills, straight from the heart indie rock that has no time for preciousness or TV commercial-ready softness, could do much worse than Sebastien Grainger and this jaw-droppingly good album.

Given how mercurial she's been, this stylistic return may be temporary, but it's so fully realized, it's also a most welcome one.

A nifty encapsulation of the group's style and attributes--the Killers cannily use the singles-centric conceit to showcase the band at their overblown best, emphasizing their arena-sized neo-new wave just slightly over their Springsteenisms

Every part of Purgatory/Paradise has meaning for the band and its listeners, making it a satisfying artifact in a time when music is becoming increasingly disposable. May they ever go against the grain.

Boot! not only refines what the Thing do, it extends them into a breathtaking sphere where a Babel-like musical conversation takes place, elevating all of its singular elements into a rough, raucous, glorious whole.

No matter the mood and subtle variation in sound, Fulvimar is in full control at all times, and while some may miss the garage punk style of the first album, Shine Your Light is an impressive change-up that will thrill those who stick around.

Last Patrol ties things up nicely with the one-two punch of "Strobe Light Beatdown" and "One Dead Moon," the former a blistering garage rock rager and the latter a midnight power ballad that shakes its fist at the inky blue and then disappears into its gaping maw.

It's hard not to find something to like here no matter where your tastes may lie.

With its more considered, balanced approach, Surrender to the Fantasy feels more like a complete album than Balf Quarry's collection of moments did. It may take a few more listens to surrender to its fever dreams, but it's well worth the effort.

When the album ends and the various styles, songs, and moods are added up, Midnight Memories ends up as another satisfying album that does everything a One D album should do and then some.

This isn't meant as a dismissal: Barlow has a knack for mildly ambitious piano ballads that gain strength from their hazily arty design as well as his studied melodicism.

Ultimately, the Warlocks only do one thing, but they've learned to do it quite well (or rather Hecksher does it quite well and knows where to get the assistance he needs), and 2013's Skull Worship confirms his obsessions have not changed one bit with time.

As on Woman, much of Jet Lag's lyrics slide between romantic and erotic, full of longing, discreetly laced with sexually suggestive content. It all adds up to a sophisticated electronic pop album with a serious lingering effect.

EVE has the undeniable edge in vitality when compared to More!, the duo's previous album, and there's much more depth and variety.

There are the purely lovely moments like "Midnight Glories" that help make Sumie a quietly compelling, inviting full-length introduction to an artist who can't help but bewitch listeners willing and able to embrace her stillness.

For perhaps the first time, his solo work feels less like a tangent to his work with the Strokes and more like something sustainable in its own right.

More of a well-crafted showcase for Benson's always strong tunes than a greatest-hits collection, You Were Right feels like a proper album and meets the same high bar set by his previous work.

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.

Along with celebrating the boldest parts of Stewart and Simone's art, Nina marks the return of Xiu Xiu's uncompromising side at its often exhilarating best.

Harlem River is a journey worth taking and an excellent debut from an emerging singer/songwriter.

By the end, the dizzying and beautiful piece expresses the fury and unpredictability of life while maintaining a zen-like calm at its core, finding clarity just as easily as it rises to chaos.

Love's Crushing Diamond is a title that captures the hope and hardship in these songs, and the album's kindness and calmness make it the musical embodiment of a friend whose shoulder is ready to cry on at a moment's notice.

Think of A/B Til Infinity as a more mysterious version of the project's 2011 LP Bible Eyes, and all the meticulous production, overall album flow, and attractive song structure rules still apply, but this one can be parted out much easier, offering up about four 12"s worth of late-night dancefloor intoxication that are still rich enough tracks to hold up for headphone listening.

Join the Dots shows that instead of limiting themselves, TOY have just gotten better overall--arguably the more difficult, and rewarding, path for a band to take.

[Carcass offers] up an 11-track tour de force that's as visceral, inventive, and grotesque as Symphonies of Sickness, yet infused with the dense, machine-shop precision and chrome veneer of 21st century metalcore.

There's an element of nostalgia for times that are long gone, but with songs this strong, it almost feels like a necessary self-referencing for anyone who missed the band the first time around.

The intimacy and raw beauty of Live at the Cellar Door makes it not just a must for super fans, but a valuable companion piece to any of Young's early studio output.

Third time’s the charm for horrorcore rapper Hopsin, as the angry and often awful character balances his aggressive, violent vocal style with more pop and approachable music during the rewarding Knock Madness.

Connecting with the album is nearly impossible, understanding it is difficult, and often enough, its inflated ego is irksome, but Because the Internet is too free and fascinating to be dragged down by these complaints, so if a Yeezus with more flash and fun is what's required, Gambino's got the good stuff.

Pollard truly delivers the goods with his album, and he's advised to follow this method more often, since it sure seems to work for him.

Alafia is a serious album, and its musical complexity, its rich lyric structures, dynamic textures, and complex rhythmic palette serve to reflect on the bitter fruit of conflict, yet make it Touré's most compelling musical statement to date.

It's the songs that give Sunday Morning Record its lasting power, and its strength in the wake of so much upheaval speaks to the gifts of Jurdi and Quist as songwriters and frontmen.

Dotted with intelligently applied sound effects and bits of newsreel narration, From the Sea to the Land Beyond often recalls Rachel's' post-rock masterpiece The Sea and the Bells in its evocative impact and thoughtful embrace of elements outside the palette of most rock bands; this isn't rock & roll, but what it is is something very special, and this is the rare film soundtrack that works nearly as well on its own as it does accompanying another artist's images.

Approach Rap Album One is an acquired taste that's worth acquiring because it isn't for everyone, but it's excellent.

Kirchen has always been tasteful but his playing has gotten sharper over the years, which gives Seeds & Stems precision but also depth, as he knows these songs and styles inside-out yet can still find new nooks and crannies hidden deep within them.

Both Sands and Owens are superb, technically adroit musicians who complement McBride's warm, generous bass playing at every turn on Out Here.

This is easily the producer's most emotional and story-like output.

Those who possess inside-out knowledge of the Prince and Jam & Lewis songbooks should be thrilled with it.

Hardcourage is a rich experience that rewards return visits. Add a near perfect flow from start to finish, and this fun bundle of irresistible future garage can be considered crafted, even when the spirit is as easy as Sunday morning.

While not quite holding the warmth or approachability of other "unearthed" recordings of its ilk, this compilation is essential listening for anyone who's ever been fascinated with Nick Drake's impenetrable, gorgeous sadness.

The band has found a nice balance between the more contemporary prog-inflected craftsmanship of Field Music and the retro synth romanticism of bands like Delphic and Naked and Famous.

These ten songs sound almost designed to be played on repeat, and keep with the always colorful and ecstatically fun sound audiences have come to expect from one of the best acts going in retrofitted classic soul.

This one is so packed and bold, it even exits on a turned-up club stunner ("Act Right" with Jeezy and YG), so consider it the big longevity payoff after years of rocky Yo Gotti albums.

This album confirms once again that she's matured into a singular artist with the talent and the vision to make these stories of her travels in the South come to vivid and affecting life.

Fans of James Blake's Overgrown and Bon Iver's self-titled second album should find this appealing, but this stands apart from both those records. It's not only smart, it's honest, emotionally and musically.

How much Howe Gelb one needs is a question only fans can answer for themselves, but if you're up for a major journey through Gelb's universe, Little Sand Box delivers the deluxe guided tour with the sage himself as your guide, and there isn't a single false or insincere moment to be found in these eight albums.

These trips to the dark side add even more depth to an album that's a significant step forward for Blank Realm, and some of their most enjoyable music yet.

Expansive and enveloping at the same time, this set of songs puts Warpaint's past and future in perfect balance--one of the best things a band can do on their second album.

Chiaroscuro is built to unspool slowly, cut deep, and last a long time.

This album continues the colorful and reaching work of the albums that preceded it, and if this pairing of Swift's deft production and Jurado's risk-taking songwriting continues, even greater things are on the horizon than these already gorgeous songs.

At times, this album is nearly exquisite, at all others, it is beautiful.

Ultimately, much like riding a surfboard from wave to wave, Fading West moves from earnest ballads to dancey, groove-oriented cuts to breezy, sunshine-soaked rockers with an easy, athletic flow.

This remains a stronger and more engaging document of Lone Justice's brief moment of greatness than has ever seen authorized release, and 30 years on, this still sounds like a band that could have taken on the world if they'd been allowed to follow their own path.

Unlike many bands that have tried similar ways to change things up, Hospitality make all the right moves on Trouble, and not only equal their impressive debut but surpass it both sonically and emotionally.

Completists looking for some new insights to Drake's sounds will come up empty-handed with this collection. Although the music at its best approaches flawlessness, almost all of it has been widely available long before this packaging.

Divided & United is vital listening for anyone interested in the history of pop music or the United States, and it satisfies as both education and entertainment.

Split between uptempo rockers like "Little Minx" and "Evil Blooms," powerful and hooky midtempo tracks like "Rimbaud Eyes," and streaked-eyeliner ballads like "Under These Hands," the record has a dynamic flow and balance of sounds and moods that previous albums haven't been able to accomplish.

Moon's classic-sounding melodies and instrumentation have a timeless if deceptively simple beauty that's different in all the right ways from Raymonde's former band, and that's exactly what makes Snowbird such a worthy successor.

Ultimately, with The Age of Fracture, Cymbals turn disconnection and dystopia into danceable fun.

A lot of people have done the same kind of excavation and restoration work he has, but few have done it as memorably. Almost no one has done it with songs as good as these.

Miniature interludes tie it all together for that classic album flow, and with no filler or fumbles, Divine Ecstasy is a well-dressed and worthy addition to tasteful lofts, high-end headphones, and excellent album collections.

River of Souls finds a way to economically say everything the artist needs to say, touching on myriad ideas and styles, wasting no words, and making it look so easy.

It's even bleaker, more industrial and decayed, than 2012's R.I.P. There are more moments of forward motion here than on that previous album. They're all captivating on some level.

While it would be a shame to let the Mendicants' future impede the progress of any new records by the group's flagship bands, this is a wonderful debut and certainly worthy of a follow-up album.

The album is like a gentle, sometimes terrifying solitary journey, a walk through foggy terrain with no absolute destination in mind, but one that takes the listener to places of new questions and different possibilities every time.

It's not common for a band to rock this hard and sound this smart at the same time, and the fact they've managed this accomplishment with a mere two people confirms Do Not Engage is both a solid dose of rock action and a model of modern efficiency.

There are several milestones in Kidjo's nearly 30-year recording career; Eve is certainly one of them.

No doubt, Lord Steppington is a niche album, but whenever a combination of 3rd Bass and Adult Swim is required, this one shows its pimp-hand with some dry, elevated humor.

The fact that they waited eight years to make this impressive album demonstrates the patience and maturity of a band whose members wanted to wait until they had something worthy to say.

While Mmoss created a small but memorable body of work, Doug Tuttle proves their former guitarist has the talent and the vision to create music just as remarkable all by himself; hopefully, he won't have to have his heart broken again in order to deliver another set of music this engaging.

In many ways, the demo sounds like a strong rough draft for the album that followed, with a bit less electric guitar punch and a shade more twang, but documenting performances that are essentially just as strong in terms of chops and commitment, while spotting the subtle differences in the arrangements, is where fans will have the most fun.

Fifth isn't much of a title, but the music is something very special, and this is one of the smartest and best-crafted pop albums of recent memory.

Come to Life is aptly titled when it comes to Aviv's talents, and even if he didn't invent cloud rap, using the genre for such positive and poignant music is previously unexplored territory.

Held in Splendor shows that Quilt are defined, but not confined, by their affinity for the sounds of the '60s. Instead, they're using it in ways that may be slightly more down to earth but also cover more ground.

Expertly arranged and produced, and written and performed with smarts and compassion, No Way There from Here demonstrates that Laura Cantrell remains one of the best and most thoughtful singer/songwriters working in roots music today.

Its freshness proves that ten years after their 2004 breakthrough, the band is as lively as ever and, in some sly subtle ways, better than ever too.

After absorbing the record, however, it's clear that the broken, disconnected flow is by design, and Guardian Alien's experiment with structure pays off with another album of mind-bending headphone candy.

Her use of country music as a way of getting these songs across is not only convincing, it's compelling.

After the Burial might have a sound that's heavier and more mechanical than their prog forefathers, but that doesn't diminish the massive amounts of technical and creative power at work on Wolves Within.

It perfectly reflects both Sunn 0)))'s impenetrably emotional dark heart and Ulver's expertly crafted senses of drama and dynamic.

With ceo he's perfecting it and this is his best work yet. Whether you're shopping, working, falling in love, or drifting along aimlessly, it's a perfect soundtrack for a warm daydream full of light and wonder.

It's an incredible feat for an artist to make something so enormous and unfolding without losing himself in the process, but McGuire has done just that, and as a result has turned in his most detailed and soul-searching work.

Because of the material's quality and the inspired collaboration between songwriter, performers, and producer, July unfolds as a near-perfect song cycle.

This music glides across the ears, never indicating how deeply its hooks are sinking in; these songs wind up growing in the subconscious, suggesting how Matthews knows precisely how his obscure art works.