Revival ranks among their best work and is definitely their most contemporary effort in tone.

Ambitious in its reach, Remedy keeps close to the ground in in its inspiration and execution.

With sharp production and some of the better compositions Phish have managed in ages, Fuego ranks among their best studio albums, capturing strands of the frenetic, cartoonish, darkly cautionary, and open-hearted expressions that make their concerts such moving experiences, but which often get lost when the tape starts rolling.

The constant repetition with more or less subtle shades of developing dynamic and texture in all but the last of these tracks creates a nearly endless groove. And perhaps that's the album's point, creating an album of dance music that's fun to listen to; a mirror image of Someday World's more carefully structured avant pop.

In My World is an argument that the drugs are getting better, and maybe even too good, but it proves that freaky hallucinations are hard to string together, and that the impish can be irksome when clever is pushed to its limit.

Along with empty flash like "Something Bad" and "Time of Your Life," they're all part of Thicke's least appealing album.

The sounds are by turns troubled, angry, isolated, and wonder-struck in ways that only Hawtin can sound, and Ex adds another mysterious chapter to the Plastikman story.

Every Time I Die have established themselves as one of the more reliable and relatable (in a nervy, dysfunctional way) acts to come out of the genre, not to mention one of the most discernable, and the commanding From Parts Unknown does nothing to tarnish that reputation.

Smart selections make this the best and handiest introduction to a group crucial to the development of industrial, post-punk, and dance music.

The strength of the songs and the powerful energy with which the duo deliver them help them escape any charges of ripping off the past.

Best to part it out and party, because if there's a blueprint for the vocal EDM album, A Town Called Paradise follows it too closely, spinning through all the usual breaks and drops without pausing to consider the full picture.

Mosaics Within Mosaics may be the project's most ambitious sonic scrapbook, but its masterful presentation makes its cornucopia of found-sound indie micro-symphonies float by gracefully.

Gamel is a frenzied and ecstatic experience, and one that ends up being brilliant in its bizarre combinations of sounds and ideas.

The album rolls along with a meditative, confident feeling, morphing into a bright dream-like celebration in its many various peaks.

Even though the band isn't doing anything that listeners haven't heard before, the album's lyrical depth will reward fans who take the time to sit down and really explore the record.

Songs like "Woke Up to the Light," with its seemingly innocuous Alphaville "Forever Young"-inspired foundation and the churning "Mirage Year," the latter of which explodes into a full-on sonic assault that sounds like it must have taken weeks to clean up after, present themselves as measured and somewhat even-tempered, but like the majority of Heal, they're barely contained time capsules on the verge of catharsis, and whatever beauty they possess will ultimately burn up upon re-entry.

These gangly excursions in rap are evidence of Sheeran's youth and his generation, something that keeps X from being merely a bit of excellently crafted mature pop and gives it some appealing character.

An immersive album that feels designed to be taken as a whole, What Is This Heart? reveals How to Dress Well coming into its own.

Phox is an undeniably tight unit, and their long history as friends imbues each track with a distinctive warmth that eludes similar-sounding acts, but their not-so-secret weapon is Martin, who can bend cliches to her will, and does so often throughout the 12-song set.

With Neon Icon it's just as easy to tune in, drop out, and twerk.

Once again, HMD appeal to novices and experts alike.

When GusGus joined Kompakt, the association seemed odd--almost charitable on the label's part--but now it makes total sense.

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.

The songwriting, playing, and production here are inspired, kinetic, and far more accessible than ever before.

Just as they did on their best album, Ashes Grammar, the band takes risks and makes leaps, and the results on Sea When Absent prove that they are one of the best, most interesting under-the-radar bands of their era.

All these light moments are tempered with Joakim's wistful, distant vocals, as if the album were a lazy getaway where breezy beaches during the day give way to bittersweet memories around the evening campfire. Sweet stuff, and besides that, it sticks.

With Geist, Stagnant Pools haven't made any leaps forward, more like a small step backward into something even more interesting and powerful than before.

Refreshing in its conciseness and brightness, Shaken Up Versions embraces change even as it unites the different eras of the Dreijers' music.

Much of the album is infused with a Casablancas-meets-RSO Records aesthetic circa 1980. Ultimately, it’s just that style, matched with musical substance, that helps Cruel Runnings register as a lot more than just retro hipster pastiche.

2011's Ninth was the leanest and most immediate collection of new material from Peter Murphy to arrive since the late '90s, and Lion, his tenth long-player, while a much different animal (pun intended) sonically, goes for the jugular in a similar fashion.

For all its sonic "ambition," Phosphorescent Harvest is a mess. It's a collection of songs without a unifying center.

The entire album sparkles with this same brilliant pacing and the group's thoughtful trek between detached analog electronics and passionate acoustic instrumentation.

Weird, wonderful, and otherworldly stuff, as if Lil B. Lil Kim, Beenie Man, Beyonce, and Dr. Frank-N-Furter were spliced together with all their collective sass preserved, then piled high.

While(1<2) is a very good, very restrained, and very inspired Deadmau5 effort.

Last Dance is a necessary addendum to Jasmine; it fleshes out the confident, mature, amiable, and eloquent speech in the canonical language these two jazz masters share.

Grey remains a subtle songwriter, but these songs are direct and often slyly hooky, which means Mutineers makes a striking initial impact then seeps in deeply.

On Band of Brothers, Nelson reminds us that no matter the iconic place he occupies in American popular music as a vocal stylist, he is a classic country singer and songwriter first.

Her performances evoke all the anger and passion of the alt-punk heroes that inform White Lung's sound, but surpass many of them when it comes to control or the incredible clarity in her spitting, snarling delivery.

The overall effect is a band that's dug in their heels in the studio and is going to make the most of the way the individual voices bounce off one another, and if they're shooting for something less challenging on Favorite Waitress, the feel of the music clearly seems to suit them.

Far from sounding as if they're grasping at straws, Linkin Park seem rejuvenated, proving there is value in the cliché of returning to roots.

When the scale tips too heavily toward rhythm--as it does on "Booty" and "I Luh Ya Papi"--the productions don't do Lopez many favors, burying her in their thrum.

There's an open-minded exploratory edge to everything here, as if Black Prairie were delighted to discover that genres are really just in the mind of the beholder.

This album's depth and excellence--only the tedious "Like That" falls short--suggest that Deykers should consider going all analog all the time.

Even when the tracks sound more sketch-like, not fully formed--2013 single "Airglow Fires" is a trifle by Cutler's standard--the sheer moods are appealing.

While this might mean that Jaded & Faded lacks the reckless energy of its precursor, it's ultimately a more adventurous and interesting album because of it, proving that Cerebral Ballzy are more than just a group of guys with a keen interest in hardcore.

Lower stand out for their unique blend of cathartic explosions and restraint, creating something remarkably powerful in their use of dynamics and tense pacing.

Tthe songs on Noise all fit nicely and naturally into a well-considered larger statement, making it one of Boris' most captivating and all-encompassing efforts in their abundant and colorful oeuvre.

The album's focus on horn arrangements and roomy, dreamlike production gives it a singular feel, one where listening through the entire album feels not unlike wading through a field of tall reeds as an inexplicably sad autumn day fades into twilight.

Equally critical and affectionate and entirely fascinating, it's some of Daniel's most personal music.

Ultraviolence thrives for the most part in its density, meant clearly to be absorbed as an entire experience, with even its weaker pieces contributing to a mood that's consumptive, sexy, and as eerie as big-budget pop music gets.

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.

Fans of complex, smart pop will be attracted to Williams' attention to detail, but the songwriting itself is also deeply melodic and more lyrically and emotionally honest than before.

As inspired, awful, and awesome as their debut, the only bummer about Donker Mag is that H.P. Lovecraft, H.R. Geiger, and H.R. Pufnstuf didn't live long enough to hear it.

The final result, Don't Wait Up, appeared in June 2014, and was a fitting final salvo from the band, loaded with tough tunes and powerful messages that pack an additional emotional punch as the band rides into the sunset.

By the end, listeners will feel like they've been laying out in the sun all day, warm in the glow of the Donkeys' heartfelt love for all things Cali, complete with the sound of washing waves and seagull cries.

The album is refreshingly spare, especially in light of the lofty production work Schlarb got into previously. However, as nice as these low-key guitar wanderings are initially, the longer pieces drag on into aimlessness and never really reach for any resolution or greater narrative.

Bright Side of Down should resonate with Gorka's fans and those of modern American folk music.

Hornet's Nest confirms that at the age of 64, he has an awful lot of life left in him.

This is a promising debut with flashes of brilliance that shine even brighter considering Pulos and Laffer's youth when they made it.

Given how fickle Bemis perceives some of his fans, changing up the formula so drastically is a bold move on his part, but it's one that ultimately pays off, making the album a creative high point capable of spawning enough critical debate to fuel a lifetime of Say Anything albums.

There's a take-it-or-leave-it quality to Await Barbarians' open-ended, unvarnished songs, but more often than not, Taylor draws his audience into the album's world in a way that feels like a visit with an old friend.

Cook's second full-length, 2014's Twice, follows in the same path as her debut, featuring nine tracks dominated by Cook's smooth, slyly sexy voice and arrangements that keep the grooves light but dance-friendly at once.

As it is a Chrissie Hynde project, it is a little inconsistent, sometimes sagging on ballads or dragging its feet at mid-tempos, but there are several strong additions to her canon and the overall feel is appealing and, thanks to her unexpected collaborator, fresher than expected.

International announces Lust for Youth as one of the finest acts giving synth pop new life in the 2010s.

With a genuine sense of melancholy that is far beyond their young years, the Söderbergs have taken the mild success of their sophomore record, Lion's Roar, in their stride, and with the expert hand of Bright Eyes' Mike Mogis once again producing, the lush harmonies and melodies of this album show that they are worthy of a place in the mainstream.

It is perfect for lazy summer afternoons, cozy winter nights, or anytime you might want some music that's blissfully peaceful and sweet, but never boring.

Those who continue to stick with the band will find themselves rewarded with another fine addition to an impressive catalog and an example of grown-up psych pop that's both calming and soul-searching, while never being anything less than completely enjoyable.

Even though Vek doesn't find or offer any easy answers on Luck, its highlights capture the most challenging and engaging parts of his work.

What makes it a better, richer work is how it simultaneously holds every side of White, existing at the crossroads where modernity, tradition, hard work, and inspiration all meet.

Things Are Great Here is a lovely collection and another unique release by one of the era's most distinctive artists.

With James' voice and nearly iconic harmonic sensibility as a guide, these genres flow into, rub against, and ultimately redefine one another. His creative reach, at least at this juncture appears to be boundless.

It all makes for a complex, often beautiful debut album that affords Kelly even more expression and possibilities than what he's done before.

Ultimately, with Whispers, Rosenberg has crafted an album of sweet, hummable anthems for tender-hearted troubadours everywhere.

Ultimately, with Love Me, Barfod has crafted an album of highly engaging, emotionally resonant pop music that's as creatively rewarding as it is accessible.

Their voices are strong and clean (maybe too clean) and the parts are played well enough, but when you remove the punk from pop-punk, the attitude goes with it and you'd better be sure that the material underneath is something of greater interest than these largely forgettable acoustic emo ramblings.

Anathema's trademark emotional resonance and musical adventurousness purposefully re-engage earlier electronic forms to make this album a compelling--if controversial--undertaking.

rouble & Love is unlike any other "heartbreak and healing" album; its hard-won, experiential, Buddhist-like wisdom borders on the profound.

Even when the songs sound coherent and have some interesting moments, the jarring beats still come on as incessantly aggressive with no actual power, inspiration, or deeper statement driving the noise.

While there is still a handful of metallic rockers, III is built on a folky, acoustic foundation that gives the music extra depth.... Of the first three reissues, Led Zeppelin III contains the highest quotient of unheard tunes: precisely two, although one of these doesn't quite feel new.

There are certainly some strong tracks here and it will be interesting to see how Mr. Little Jeans develops, but as a whole, Pocketknife is an uneven debut.

Copper Gone is a mix of tried and true plus smarter and new, and it's an excellent reason to check in on Sage's evolution.

It's obvious that Superunknown was consciously styled as a masterwork, and it fulfills every ambition.

While Led Zeppelin II doesn't have the eclecticism of the group's debut, it's arguably more influential. After all, nearly every one of the hundreds of Zeppelin imitators used this record, with its lack of dynamics and its pummeling riffs, as a blueprint.

Although the album isn't as varied as some of their later efforts, it nevertheless marked a significant turning point in the evolution of hard rock and heavy metal.... Zeppelin never felt this nervy again: they harnessed their majesty and knew how to deploy it, but here it still seems like they weren't quite sure of their limits, which is why it's a particularly exciting bonus disc [a concert given at the Olympia in Paris in 1969].

This self-aware mortality is the trump card of Beauty & Ruin, as Mould neither denies his youth nor his age; as he explores his pain, he finds emotional and musical narrative to tie his past to his present and the results are powerful.

Invisible Hour is a beautiful, haunting collection of songs that only Joe Henry could create, and whether you're familiar with his work of not, you're likely to find something that will impress you on this album.

While Early Riser was pieced and patched together, it flows as a gleaming focused set that combines left-field electronics, alternative R&B, and futuristic jazz.

While listeners will have to wait a little longer for a break in the clouds, Ndegeocello and her associates have soundtracked yet another emotional storm in vivid, enthralling fashion.

Heavy Reverie does seem a bit like a holding pattern, which isn't necessarily a bad thing, not with a band as good and as maverick as this one is, but it leaves one wondering just how good these guys could be.

It doesn't take long to notice that the men of Camper Van Beethoven were having a lot more fun up north, while El Camino Real finds them playing with a technical skill that puts their early classics to shame but sounding curiously short on the joy and spontaneity that were once this band's trademark.

New Eyes remains such a small, subtle, and soft record that by the end, it doesn't feel very daring or different.

La Grange's newfound electronic experimentalism also fits nicely next to works by her similarly inclined contemporaries like Goulding, Grimes, and Alex Winston, adding a unique and unmistakable twist to the subgenre that makes it seem all her own.

This Machine Kills Artists is a worthy experiment, and a few tracks work rather well, but ultimately Osborne should aim for a more distinct game plan before he goes acoustic again.

Emma Jean even stands out from its excellent predecessors in performance, arrangement, production, and inspiration.

The result is an album of beautiful juxtapositions, steeped with poetic gravitas that nonetheless never fails soar.

It would be unfair to call Black Hours a missed opportunity; even if its glimpses at fresher musical territory are tantalizing, Leithauser carries on the Walkmen's tradition in ways that fans will welcome.

The band beautifully marries its dense and intricate compositions with Abraham's sledgehammer vocals to create something that feels like the next evolution of the genre.

Perhaps Platinum would've benefitted from a tighter construction, but its mess and lopsided sequencing wind up appealing: at its heart, this is a classic double-album where the misses enhance the home runs and, eventually, are endearing on their own terms.