The density of the album might take a while to sink into, but its catchiness will keep the listener returning to try to crack the code.

The high level of songcraft, Saloman's devotion to his sound, and the fierce performances on White Numbers show that anyone who thought maybe the Bevis Frond were past their prime was just dead wrong, and this is a welcome addition to their catalog.

When the Devil Wears Prada strays from the typical modern metal formula with progressive ideas, the results are almost always favorable, and 8:18 finds the sextet at their most provocative and heavy.

If there's anything superfluous going on, it's simply happening too fast to worry about it, and while this means that it takes more than one listen to really take in what's going on, the album is solid enough that a second pass is a welcome proposition.

After more than 20 records, Motorpsycho remain inexhaustible in their creativity, fully, energetically, in command of a musical vision that is boundless.

Red Beans and Weiss is a greasy, gritty report from one of L.A.'s last original rock & roll street denizens. It has a grimy charm all its own.

Listening to the album, it's clear that even though Slipknot aren't over the loss of a dear friend and colleague, they're able to channel their grief into a productive album, allowing them to continue moving forward while paying tribute to a fallen comrade with one of the strongest albums of their career.

Standouts are plentiful, with Lorde herself contributing both the propulsive centerpiece "Yellow Flicker Beat" and a cover of Bright Eyes' "Ladder Song." "Yellow Flicker Beat" also gets the remix treatment from Kanye West, his more minimal reworking of the song credited as "Flicker."

There's evidence that she has studied the classics, like the point in "Broken Hearted Girl" where she quotes Teena Marie, and the quietly dazzling, Janet Jackson-like way in which she conveys longing throughout "Request." At the same time, she leaves a mark of her own with this, one of 2014's superb debuts.

This is very clearly the Decemberists, but with a new kind of focus in their songs and arrangements that makes it clear this album's sound is a result of creative evolution, not an offering to their newer, larger audience, and it's a sweet and sour wonder that rewards repeated listening.

All These Dreams, much like Combs' expressive voice, feels lived in and authentic, and while it may lack some of the gravitas of his heroes, it certainly never does them a disservice.

While not truly a debut, since Jalbert has been around awhile, Cosmic Troubles does herald the arrival of a band doing psych pop in an idiosyncratically unique way, something that any scene, and especially a scene as crowded as this one, desperately needs.

Fernandez's engaging, exploratory songcraft and the plush result of all the component sounds should appeal to post-rock-minded folks as well as those who favor artful, low-key intensity to bombast.

Portraits establishes Maribou State as an intriguing pair of sonic architects, capable of crafting intricate but not cluttered, blue but not depressing, emotive electronic pop music.

An even more consistent album than Kiss, E-MO-TION further defines Jepsen as an equally stylish and earnest pop artist.

London producer Slime creates sumptuous, swaying music that flows so freely that few rappers could ride it.

"Girls" illustrates the dance between jealousy and affection simply and brilliantly. Moments like these make All Yours Widowspeak's most self-assured and vulnerable album yet.

Shopping make listeners lean in and pay close attention, proving along the way that they don't have to choose between tradition and growth to make a strong second album.

808s & Dark Grapes III isn't quite the Zeitgeist-capturing statement that II was, but it's still an enjoyable, highly focused effort.

By the time the meditative, strings-driven "Zone Null" brings Void Beats/Invocation Trex to a close, it feels like the end of a journey that reveals Cavern of Anti-Matter as a playful yet profound group capable of touching on the cosmic as well as kosmiche.

File this massive effort next to Damian's Welcome to Jamrock, Stephen's own diverse 2007 release Mind Control, and maybe even Dad's 1976 "Roots, Rock, Reggae" breakthrough, Rastaman Vibration.

As it is, it's a bit of a confused mess that needs some serious editing.

For anyone who enjoys sinking into a gooey, sleepy, eerily warm, and keyboard-laden sonic murk, but still wants the occasional hooky tune to keep them happy, Brunei may be just the right thing to keep the good times peacefully rolling.

With On Dark Silent Off, Radian sharpen their difficult sound into something more urgent and alarming than it ever was before.

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.

Scott H. Biram remains one of the rawest and realest honky tonk men wandering our lost highways in the 21st century, and The Bad Testament finds him howling just like the hellhound on his trail.

Under the Pines is emotionally heavy, and its best moments manage to find warmth and comfort in crippling depression.

If you've been following him all along, The Song of Day and Night is something of a crowning achievement for a truly talented, truly idiosyncratic guy.

Featuring a well-written and compelling history of the label from Sarah Sweeney, Sing It High, Sing It Low is an enjoyable overview of a forgotten chapter in early-'70s country-rock, though this story is compelling enough that the album really should have been longer.

A balance of playful and earnest, Wild Imagination's warm melodies, affectionate tone, and quirky charm may provide needed respite even in good times.

Are Euphoria is folky and futuristic, innocent and artful, and experimental and approachable.

Dylan didn't need another covers record. Thankfully, Nile didn't give a damn and delivered one of the best.

Just 33 minutes long, Esker is a compelling glimpse of MacKay as a sound painter and spirit explorer.

Sterilize is raw, unrelenting rock music that unapologetically draws blood.

Despite its evocation of many source inspirations all applied in unusual ways, Out Her Space is pure Blau. He never lets his ambitious charts get in the way of his melodies, ample spaciousness, and warm multivalent textures. Add to this excellent core songwriting and inspired playing from all involved, and this date follows Introducing Karl Blau like a falling domino. All killer, no filler.

Full Closure and No Details is messy and not entirely focused, but it possesses charm and character, and points to greater things ahead from Cohen.

They sound like a band treading water, desperately looking for their place in the modern pop landscape and never deciding whether to go pop or stay totally weird. This indecision leaves them stuck in the middle of the road, which isn't a very interesting place to be.

A commanding, confident debut, Basic Behaviour goes well beyond the ordinary.

Closing in on their 50th anniversary, Judas Priest still possess the musical rigor, showmanship, and force that make other bands bow down. FIREPOWER smokes.

Moosebumps tries so hard to replicate the debut that it ends up sounding a bit formulaic, even with an expanded budget and a wider sonic scope. It's still an impressive effort, and worth checking out if you're already a fan, but newcomers absolutely need to hear the original first.

Bon Voyage shows that Melody's Echo Chamber is far from being just a Kevin Parker creation. Prochet's vision is her own, and it's strong enough here to fly free of any and all constraints.

None of these more pointedly thought-provoking [spoken word] additions detract from the overall flow of the album, and instead add to the overarching vibe of open-minded creativity, love, and empowerment.

Because of its variety of rhythms, infectious energy, and limited track lengths, Angry Cyclist's thirteen tracks go by quickly. That, taken together with lyrics that are both playful and pointed, consistently strong melodies, and exuberant performances make it the type of album that would fun see performed live in full, and one of their best.

Alt-country fans throwing a Christmas party will find Love the Holidays every bit as welcome as a big batch of spiked eggnog.

It's a cool wash of shimmering dream pop, soulful, electronics-laced indie rock, and windows-down Americana that somehow manages to be both unassuming and grand.

The variety of styles, sounds, and beats means that this is one of the more satisfying albums Drake has issued. Despite it being made up of songs that were cast off, leaked, or used as bait, it serves as a kind of shadow career overview that gives a full picture of Drake as a talented, forward-thinking, frustrating, monomaniacal, and important artist.

No matter the name, it's impressive that O'Hagan continues to examine this one small corner of the musical universe, still finding new ways to combine sounds in ways that please the ear and stimulate the mind.

Springsteen's earthy phrasing helps ground these songs and makes for an intriguing, occasionally moving complement to the main album.

The mix superbly demonstrates how the contemporary jazz scene and club culture have cross-pollinated and influenced each other.

Keeping Up Appearances is tuneful and exciting, morose and beautiful, noisy and sweet, and it should have heralded the triumphant arrival of Patrick Doyle as a solo artist. Sadly, he didn't live to see its release. The album is a fitting tribute to Doyle's music and also a tragic reminder of the great songs he will never write or play.

Landreth and Field bring out the best in one another. They are symbiotic in their restless energies and experimental visions, and have consistently delivered excellence together; Blacktop Run is no exception.

Taken together, Thumb World is the type of album that should make for an entertaining, weekend-afternoon diversion with a timely world view. Recommended for playlisting: "Bad Algebra."

The Ripple Effect is offered as a standalone purchase and is easily enjoyed as such given the high quality of the duo's interaction.

Hearing Wire riff on their past and present so brilliantly makes 10:20 both a dream come true for longtime fans and a surprisingly good introduction to their music for newcomers.

The barebones numbers are solid and Townes carries them, but The Lemonade Stand truly kicks when it's at its poppiest, as on the exuberant "Come as You Are" and "White Horse."

Breach, is an inward-looking set of songs written during a deliberate period of isolation. Later recorded in Chicago with producer Brian Deck and Steve Albini, its slightly more expansive sound is evident on tracks like the lush "I, Nietzsche" and spiky "Alapathy."

After 2016's robust but scattered Everything at Once, the focused 10 Songs is a welcome return to their early style and one of the strongest statements in their catalog.

Apart from this one song ["Intrasport"], King Gizzard don't break much new ground on K.G., and while that in itself might be something of a letdown, the result is still quite pleasing.

The Symbol Remains is diverse, wildly creative, and expertly sequenced, making not only a consistent return for Blue Öyster Cult but a thoroughly inspired one as well.

What to Look for in Summer is simply more evidence to the fact that Belle and Sebastian's songs are so well made and evocative of such complex beauty, they were never going to stay contained in the lonely bedrooms and limited-edition releases they started from.

With just nine tracks, Standing in the Doorway: Chrissie Hynde Sings Bob Dylan feels a bit more like an EP than a proper album, but Hynde's takes on Dylan's songs are savvy and satisfying, and she's more than done right by one of her acknowledged inspirations.

The result is a crisp, concise package -- a bundle of summer anthems with the vivid emotions of summertime passion.

Lone always manages to go back in time and see things as they never truly were, and Always Inside Your Head is an immersive venture into the realm of fantasy and magic.

While Public Storage doesn't represent the songwriter's hookiest material, its affecting album-length presentation lingers -- emotionally and sonically -- nonetheless.

An album that's both intimate and communal, composed of small sounds and textures but expressing bigger feelings, particularly through the guest vocalists. "Fantasy" is easily the album's most memorable tune, cleverly snaking flutes and manipulated vocal hooks around Verushka's passionate, yearning lyrics.

Though it's not much longer than some of the group's EPs, Black Pearl's sustained mood of brooding mystery sets it apart, and its darkly lustrous songs uphold 50 Foot Wave's reputation as a vital part of Hersh's music.

La La Land captures the incredibly rare state of a band still sounding fresh and curious on their 37th LP, and shows no indication of Pollard and co. stopping anytime soon.

The holistic, evolutionary approach and stellar performances on Dance Kobina make it Chambers' finest as a leader for Blue Note.

The presence of primitive samples and Casio presets suggest that Khotin has been experimenting with electronic music since youth, but through years of experience, he's now able to produce more finely detailed work while keeping the spirit that inspired him to start creating music in the first place.

While it may not cull from her deep well of personal experiences, Heaven still ends up being one of the most immediate and compulsively listenable efforts in her catalog.

Their most tender, intimate album yet.

Black Duck's sprawling improv and cosmic Americana is the product of three experienced musicians deeply in tune with one another, eager to travel anywhere the spirit takes them.

Fans may be relieved to learn that while Broom did ratchet up the intensity of their sound a notch in the studio, together they keep things raw, frank, fun, and friskily psychedelic on the resulting The Joy of Sects.

A bold and bruising nine-song set befitting an architect of grunge and alternative hard rock.

With What Did the Blackbird Say to the Crow, Giddens and Robinson dig deep into the core Black Southern folk traditions that originally inspired them, and the joy is palpable; you can almost imagine them sitting around with Joe Thompson, smiling, and intently learning these songs.

Personal History is a triumph, offering an unguarded look into her heart and her soul.

As a whole, it extends not only Younger's musical reach, but also readily reflects the influence of her mentors in this, a music that could only be born in the 21st century, and as such, it's a gamechanger.

"Bad Dreams Summertime" is a standout among a truly immersive set, thanks largely to ghostly girl group-type backing vocals, shifting tonal centers, and lyrics that confuse time, imagination, and reality ("False recollections, the wrong soundtrack").

Atmospheric Hammond organ and country-styled guitar help set a sunny stage for songs such as the sultry "Rope You In"; the lusher "Contact High," with its acoustic and 12-string electric guitar, Ace Tone organ, and rim clicks; and the breezy and lilting "Hot Headed," an affectionate tune that regrets giving in to anxiety sometimes.

Stardust is among his more adventurous collections to date. When paired with the clarity and vulnerability of Brown’s lyrical portrayals of his victories and failures, the fearlessness with which he embraces every creative impulse he considers make Stardust even more of a triumph.

With EVERYONE'S A STAR!, they look back at their early years with an artful honesty, crafting a post-modern boyband album that's as sonically and thematically ambitious as it is fun.

The strange textures she finds in the recording process add to the overall intrigue of these beautifully sad songs, creating a thoughtful -- sometimes pensive -- environment that’s heavy but still somehow really nice to inhabit for a while.

This set veers more toward the earnest and inspirational stadium-singalong-anthem part of the band's personality (think "City of Blinding Lights," "Where the Streets Have No Name," "I Still Haven't Found..." and that ilk).

Roxanne's music is still spacious and immersive, but Poem 1 feels realistic rather than dreamlike and abstract.

Even on these songs, it feels more like Deerhoof are coming full circle than looking back; that they've been able to put different but cohesive spins on their sound so well, and for so long, is truly remarkable.

With such a wide-open sound, even the confusing and painful parts sound hauntingly beautiful.

FIBS takes listeners for a ride, so to speak, along the meticulously plotted rhythms of its very physical, narrative-free presentation, one that, in Meredith's hands, is both stimulating and engaging.

The third outing from the Punch Brothers picks up right where 2010's Antifogmatic left off, offering up another quality set of offbeat sophisti-grass that blends the whirlwind musicianship of Béla Fleck & the Flecktones, the spirited delivery of the Louvin Brothers, and the cinematic urban melancholy of Jeff Buckley into a sometimes impenetrable but always fascinating.

If the Drones have grown a touch more polished and focused with time, it's not at the expense of creating compelling music--if anything, Havilah even more clearly places the band as one of Australia's best rock bands ever.

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.

Equally precise and off-kilter, noodly and urgent, Dutch Uncles sound remarkably confident on these portraits of uncertainty.

An almost uncannily well-crafted second album.

On Pond Scum, these songs seem to escape fully formed from Oldham's soul, even the no-frills cover of Prince's "The Cross," and if one has to take an educated guess about which Bonnie "Prince" Billy we get on this album, it's certain that what he has to say is well worth hearing.

Taken as a whole, England Keep My Bones is evidence that Turner is an artist who has fully arrived and knows it. And that's no sin.

[III's] not all that different from their great 2013 album, II, but III experiments more, sacrificing none of its attractiveness while venturing into skittish micro-trap (lead single "Reminder"), exotic ethno-techno ("Animal Trails"), and something akin to Adele singing William S. Burroughs lyrics over classic glitch ("Eating Hooks").

The duo's sad, passionate vocals readily recall peak-era Depeche Mode, but the instrumentation is much more organic, and the production is far more atmospheric and multi-layered, even verging on hallucinatory at times.

Jones' originals feel as elegant as time-honored standards, and all her covers feel fresh. The former speak to her craft, the latter to her gifts as a stylist, and the two combine to turn Day Breaks into a satisfying testament to her ever-evolving musicianship.