Despite his long list of gripes, sins, and losses, Cohen's instinctive opening to whatever light remains prevails on You Want It Darker.

Even on more restrained moments like these, Gately's audacious ideas and artistry make Color a dazzling debut album.

Stewart is content to work on the fringes of the synth pop underground, and that's the kind of iconoclasm that makes It's Immaterial worth seeking out for fans of the sound who are sick of how omnipresent it seems.

It may even be their most consistently impressive and overall most cohesive record to date.

It's intimate and powerful and, at 48 minutes, it's also a perfect length. Requiem for Hell is simultaneously a perfect introduction to and summation of Mono as a band.

Some might miss the more abstract appeal of the original AF album, but the way the band updates and slightly expands that approach makes this new album a resounding success that works on the sonic level, and maybe more importantly, a deep emotional level.

Obel's penchant for pairing elements of Elizabethan choral polyphony with millennial angst, not to mention her liberal use of spinet and celeste, would seem pedantic in less skilled hands, but there isn't a single moment on the quietly stunning Citizen of Glass that doesn't feel authentic.

Attitude counts for a lot with Chrissie Hynde, but the true appeal of Alone is how it marries solid songwriting with a sympathetic, surprising production, all of which amounts to a very satisfying Pretenders album.

Overall--despite the serious premise of addiction and recovery--The Wave is urgent and joyous, so achingly hopeful that it's hard not to root for Chaplin and his family.

The Serenity of Suffering is a welcome return to a time when Korn were at the top of their game. It's one of their best albums, almost heart-warming in its cathartic familiarity.

After a pair of lovingly crafted though similar-sounding albums, Apricity is a welcome venture into uncharted territory for Syd Arthur, and displays their willingness to grow and expand.

Integrity Blues is Jimmy Eat World's most immediately accessible and focused album in years, a peak in the decades-old catalog of these reinvigorated and endearing stalwarts.

It's his friendliness that makes his musings on the human condition work, and with Winter Wheat, he's once again crafted another thoughtful and meaningful set.

Here and throughout Masculin Feminin, Blonde Redhead's sense of melody and drama sets them apart, especially on La Mia Vita Violenta.

A few songs sound nothing like Crocodiles, like the rollicking Latin-inspired ballad "Alita" and the cheerful '60s pop/rocker "Not Even in Your Dreams," but it still works thanks to the focused songwriting and the care they put into the sound. That at least half the songs are among their most powerful and poppiest to date ("Telepathic Lover" chief among them) doesn't hurt, either.

Fortunately, for every formless track, there are two more like the brilliantly buoyant "Dream Orchestrator," a glimpse of 21st century psych-pop at its finest. Moments like this make Clear Shot TOY's most ambitious and rewarding album yet.

Two Vines may not be the group's masterpiece, but it is their most consistent album yet. Their mastery of modern pop sounds, ability to craft melodies that have a timeless quality, and the real connection they provide to people who want their frivolous pop music to have some depth and meaning, is impressive.

The album is highly focused and engrossing, and continues Hauschildt's run of nearly flawless albums.

Confessions turns out to be as charming as it sounds on paper; at times it's even profound.

Big Baby D.R.A.M. is, at times, odd and imperfect, which is part of the charm.

Packed with breezy, witty, should-be hits, Bonito Generation is a winning mix of subversive art and genuine heart.

On Telling It Like It Is, Marching Church sounds like a congregation running wild, searching for the truth. Even if they don't know where they'll find it, it's thrilling to join them on the hunt.

Two decades on, Lambchop are not only still able to surprise listeners, they're doing some of their best work at the same time, and FLOTUS is an unexpected triumph.

Because of their association with Bowie, the quartet's Beyond Now will get attention from a wider range of music fans than a jazz album normally would. But this record warrants attention on its own merits because it showcases the exciting, genre-blurring sound of a sophisticated band coming into its own.

So although introspection may be on full display, it feels more like a celebration of life--a post-realization that it's a mix of highs and lows.

An album full of potent atmosphere, dirty guitars, and emotional honesty, Burn Something Beautiful ranks with Escovedo's best and most adventurous work, and both fans and curious neophytes owe it to themselves to give it a listen.

The album isn't a comeback but a continuum, and a welcome return from a true oracle of traditional song.

It also exhibits a sleeker sound than the notably rough-hewn debut, with McClure having invested in "a laptop and some decent microphones." Thankfully, these changes don't erode the outfit's free-spirited charisma.

If the riffs don't always sink in deeply--and if the entire production feels slightly monochromatic--what impresses here is the thought and musicality within the compositions and the performances, elements that have always been at the band's core and shine brightly on Hardwired... To Self-Destruct.

Mr. Entertainment and his bombast do not disappoint. The Heavy Entertainment Show is his most invigorated album in years, a truer return to the pop realm than 2012's Take the Crown.

Those seeking the wacky thrills of Regions of Light and Sound of God might be surprised--or even put off at first--but closer listening reveals the poignant and provocative Eternally Even as a stronger, deeper album.

Seven years is a long time to wait between albums, but if that's how long it takes to make the album as good as this is, then the wait was worth it.

The "uh oh"s that punctuate "Hyper Dark"'s shattered balladry hint at Jessica Rabbit's state of emergency, while "Torn Clean" is one of the band's prettiest songs yet. Contrasts like these have been Sleigh Bells' modus operandi since the beginning, but Jessica Rabbit's mix of brashness and finesse proves they can still thrill.

The album manages to sound detached yet intimate as dal Forno's fragile voice and glowing melodies reach toward something intangible.

Sting sifts through familiar territory with songs of protest sitting alongside songs of yearning and love and it all adds up to record that's simultaneously unassuming and revealing: through its modest nature, 57th & 9th stands as testaments to Sting's inherent gifts as a songwriter and recordmaker.

Become Zero is a stunning album that takes Helen Money's already otherworldly, highly accomplished sound to fascinating new levels.

As its title suggests, there's an eldritch purity to Older Terrors' combination of post-rock, shoegaze, and metal that makes it some of Esben & the Witch's most ambitious and captivating music.

The duo's love of huge, fuzzy guitars hasn't dimmed and anyone who shares that love will find Balance to be something pretty special. So will lovers of psychedelic music, fans of dream pop, shoegaze aficionados, and people who want music that will remind them of the past, but take them somewhere new.

It delivers an excellent portrait of Wobble as disciple, master, and prophet of dub.

Monument Builders is a powerful reminder that ambient music is a fine conduit for emotionally and politically charged messages, and it's one of Morgan's finest works yet.

Harvey sends off his final Gainsbourg project with the same spirit he introduced it with: savvy, humor, and an illuminating musical and literary spirit that defies anyone to follow him. Ultimately, it's perhaps the only kind of tribute Gainsbourg could--or would--accept.

Certain listeners might bemoan the shortage of uptempo belters here, but one attentive and thorough listen presents a clear justification.

Though Body/Head reject the notion of definitive versions of their songs, No Waves might be the album that captures their spirit to its fullest. Equally taut and flowing, this is improvisation at its instinctive best.

Ruins is an undeniably heavy bit of business, and if given time to work its magic, it will both infect and inspire.

Though hushed, lush, and intimate psych-folk may not have been anyone's first choice for where Hanson's path might lead next, The Unborn Capitalist from Limbo is beautiful and strange, and proves to be a trip well worth taking.

It all makes for a more focused--but far from simple--album that's a gorgeous, confident step forward for Illum Sphere.

As a fully absorbent headphone experience, there is plenty to uncover, but like its title suggests, No Further Ahead Than Today works just as well as a mindful, almost meditative experience.

On the whole comforting without seeming eager-to-please or, worse, becoming dull, Arms feels like a refresher of sorts, both for the band and for listeners.

The Weight of These Wings isn't produced like a country-pop album, so it demands attention and rewards close listening. It is by no means tight, but its excess is also its asset because immersion reveals different pleasures with every spin.

Packed full of confident exploration, sonic wizardry, expert guitar manipulation, and tight songcraft, this album of "leftovers" is as good as most of their contemporaries' best work.

It takes nothing for granted. The guitarist accounts for every sound and impression from his instrument and surroundings here, allowing the listener deep inside a sound world at the moment of its creation.

On his third album, Mars, joined primarily by old comrades Philip Lawrence, Brody Brown, and James Fauntleroy, sheds the reggae and new wave inspirations and goes all-out R&B. This is less an affected retro-soul pastiche--like, say, The Return of Bruno--than it is an amusing '80s-centric tribute to black radio.

While the album is technically one of Rumer's most faithfully old-school, it still sounds fresh, and the analog production aesthetic only works to magnify the purity, lyricism, and expressiveness of her voice.

While the band's resemblance to its forebears is still strong--especially on the standout "Forget," which Hot Chip would be proud to call their own--Boxed In sound more assured than ever as they expand on that legacy.

Before the Dawn is an album just as special as she is, a remarkable and expansive creative statement full of wonder and magic that rivals the best of her LPs.

Yet another artful and modern amalgamation of machine soul and left-field pop, Redemption is similar to the earlier parts of the trilogy in that it gives the listener a sense of being swept up, though there's little in the way of fantasy or escape here.

One needn't take in all 90 minutes of America's National Parks at one go; it might work better, for some, to absorb slowly. Either way, it masterfully balances solo and group improvisation, chamber sounds, modern jazz, and avant composition.

Boots No. 1 plays less like an expansion of Revival than a document of a fertile period of creativity in the life of Gillian Welch, and while fans of the original album will revel in it, you don't have to be familiar with it to be dazzled by the subtle passion, intelligence, and eloquence of this music.

All of these sounds are familiar, but his light touch means Gunslinger doesn't sound like pandering to the past but rather a cheerful acceptance of the present.

The Notwist blends all of these sounds and eras together organically and with an excitement that suggests they'll never tire of finding different ways to combine their pop and experimental sides in concert as well as the studio.

The boldness and hunger in Mandel's playing not only achieves the hallmarks of his best sides from the '60s and '70s, but at times reaches further. Not just a guitar nerd's album, Snake Pit is a stone killer from top to bottom.

The Hidden Cameras have finally delivered on that promise with a collection of songs that find the sweet spot between homey and fabulous.

Thirteen years on, that's still who Busted are, just three grown-up lads supplying a soundtrack to a night out on the town, even if their fans are now just as likely to be picking their kids up that night as hitting the clubs.

With South London peers Theon Cross Trio, Ezra Collective, and Blue Lab Beats, they reflect a compelling scene rife with exciting ideas in cultural and sonic cross-pollination. Black Focus is a hell of a first effort.

Following 2014's similarly impressive Do Not Engage, the Pack A.D. are on a roll, producing some of the strongest material of their ten-year career.

The result is an unpredictable, captivating listening experience.

Future Standards isn't quite "Howe Gelb, the Moonlight, and You," but it's closer than anyone might expect, and he plays lounge lizard here entirely on his own terms, and it's a thoroughly enjoyable detour for a multi-faceted artist.

Each track has its own kind of burning intensity. The album's front, back, and inner photos are in black-and-white, but the music evokes rich shades of yellow, orange, and red.

For a group whose members are spread far and wide geographically, not to mention busy with their own principal projects, they've funneled a great deal of stamina and confidence into these 13 tracks, making for an impressive debut.

"Awaken, My Love" is a stone-cold blast from beginning to end.

A joyous and undeniably fun album. Jonas has developed into a deeply self-aware and confident performer whose brightly hued and clever musical taste is on display throughout DNCE.

Adding the clarity of experience to his early work's atmospheric conciseness only makes The Benoît Pioulard Listening Matter all the richer.

It is a representative introduction to the work of a top-tier synth-pop group.

While his vintage approach may recall some of country music's golden eras, Bell rises above other young, retro-inspired acts on the strength of his memorable songwriting.

harmony. Sundur's delicate poignancy is certainly darker than on prior albums ("Nothing ever stays the same"), but it's just as fascinating, and has the potential to be deeply affecting.

On Forward Constant Motion, the duo make a leap forward and a little to the left, making for a rewarding, always interesting, and oddly emotionally satisfying album.

It's a special work, one that might require several thorough spins -- across a long stretch of time -- to be fully appreciated by those who love Cole's hit singles.

The songs may remain the same but the performances are vibrant and alive. For the serious Dylanphile, that's reason enough to acquire this hefty box.

Some of this material, particularly the B-sides, are as finely honed as Apple, but the tracks that really kick are the rougher material on the third disc.

While some of those who got on board Team Temple with Good Mood Fool may be put off by the more rustic turn, many longtime fans will find A Hand Through the Cellar Door to be his most mesmerizing yet.

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

side from the cultural relevance of his lyrics, Choi's songwriting is catchy, vibrant, and brimming with melody and moxie on this excellent follow-up.

Patterns of Light is another huge, heavy, and beautiful album that suggests this incarnation of His Name Is Alive is one of their finest.

If Terraform does little to diminish the notion that Roberts is one of the best kept secrets of Canadian pop, it goes a long way in promoting the idea that it's never too late to make a new discovery.

Hansen continues to push his group's sound while remaining familiar, and Epoch is one of Tycho's best yet.

The tracks are still tense and heavy, but they don't quite overwhelm you with dread the way other DS releases do. Instead, these tracks focus on dancefloor grooves while still throwing in plenty of eerie voices and other strange sounds.

It's mature and sophisticated, sure, but more than this, its wildly imagined journey through the musical cosmos is a hell of a lot of fun.

Passion, Pain & Demon Slayin' breathes gravitas into the Kid Cudi discography, realigning his trajectory and hinting at hope, possibility, and, most importantly, recovery.

This is hardly the first or best study of the U.K. punk scene of the '70s, but Action Time Vision is an impressive tribute to the early stirrings of indie culture in England, and it's great listening throughout.

The 13-track time machine does not relent or disappoint, making Don't Smoke Rock a standout for hip-hop fans in need of quality nourishment.

Nitpicking aside, the risks they take on this album pay off: I See You is some of their most captivating music since their debut.

Austra may have traded some of Feel It Break's compelling rawness for a more polished approach on Olympia, but Future Politics' rare balance of poise and intensity makes it their most accomplished and emotionally satisfying album yet.

The sprawling 41-track mix covers a lot of ground in relatively short time, and it's never less than riveting.

While it may draw its share of eye rolls, for those who play along, it's a triumph of extravagance and theatricality served with a wink and a chorus line.

These 11 Short Stories of Pain & Glory are deliberate in their intent--uplifting numbers for swaying shoulder-to-shoulder with friends before emptying out of the bars onto the dark concrete of Lansdowne on a Friday (or Wednesday) night.

Ultimately, Levi's score is as powerful a presence as Jackie herself, and its creativity is more appropriate than more traditional music would have been.

This is smart, passionate music, as strong musically as it is lyrically, and like so much of Eitzel's work, if it isn't always hopeful, it's full of a humanity that shines out through the darkness.

There's certainly enough here to prove that post-Nitro AFI are a better and stronger group, unafraid to continue pushing their sound with each release.