On Fuck Off Get Free We Pour Light on Everything, Thee Silver Mount Zion Memorial Orchestra sound more vital and musical than ever.

Wanderlust is at its best when it's slightly dexterous (as on the girl group homage "Runaway Daydreamer") and it can get bogged down in pretension (as on the ceaseless pomp of "Love Is a Camera"), but it's always exquisitely sculpted and better for its attention to detail.

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

It's unsurprising that this album is filled to the brim of arena-sized singalong choruses--which will undoubtedly be sung to the rafters by delirious teenage fans--but unfortunately, they sound all too familiar.

It's a must for any Bloomfield fan, and hopefully will open the gates to a renewed appreciation for this brilliant, manic, and groundbreaking guitarist.

REV is the Reverend Horton Heat's strongest rock & roll album since 2000's Spend a Night in the Box, simply because it shows the Reverend and company to their best advantage: they do this stuff better than anyone, and they don't have to apologize for playing to their strengths when they can still wail like this.

The Royal Sessions is enjoyable: it sounds like Rodgers is having a good time, so it's easy to have a good time too.

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

Dunes is a perfect match of band, songs, and producer that works almost perfectly and should mean that the days of Gardens & Villa being compared to their peers are over.

Ultimately, So Long, See You Tomorrow is highly engaging, thoughtful, kaleidoscopic pop music for citizens of the world.

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.

Given its experimental beginnings, Too Much Information might not be the band's most immediate album, but it affords them more possibilities than they've had since their debut.

Given Burton and Mercer's pedigrees, it's hard not to want more from Broken Bells, but After the Disco's strongest moments suggest that their music is coming into focus.

Behemoth sound revitalized and ready to destroy everything that stands in their path, and fans should be ready to either go along for the ride or be crushed.

Even if it takes a little more effort than expected to fall under the spell he's casting, Abandoned Apartments' finest moments make it one of Jay's best blends of dreamy surrealism and crisp-edged pop in some time.

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

There is an overall sense of it being the right album at the right time for Mandell which is something that doesn't happen very often in an artist's career.

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.

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.

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

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.

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.

There's no filler, which isn't so stunning since this is an EP.

With The B-Sides, fans are treated to another side of the band with a collection of live tracks, acoustic versions, covers, and unused studio cuts. While you could always describe the band's sound as raw, there's a sense of practiced composure on their albums that's refreshingly absent from the acoustic home recordings of "The Queen of Lower Chelsea" and "Boxer."

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.

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.

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.

The whole affair is ultimately an exercise in late-'90s indie rock ephemera, and like countless other acts before them, Drowners seem poised to fade away before they burn out.

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.

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.

Though truly hypnotic and rich with fuzzy textures, Maui Tears keeps its spacy tendencies from fading into incoherent jamming with both intriguing songwriting and pinpoint production choices.

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.

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.

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.

All told, Innocence finds Pontiak in a place both refined and vividly experimental, reining in their unhinged psychedelic guitar blasts and mind-melting production with some of their most nuanced songwriting to date.

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

The Green EP isn't a release that surprises and demands attention the way that Ambivalence Avenue and parts of Silver Wilkinson did; instead, it seduces listeners into a reverie that's more cohesive and satisfying than the EP's patchwork nature might suggest.

As a collection of unabashedly melodramatic, dear-diary poetic, and tastefully lush happy/sad dream pop anthems, In Roses delivers the goods with the sort of restrained panache that’s sure to win over the NPR crowd.

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.

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.

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.

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.

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.

Peggy Sue may always be a little too quirky to reap the mainstream success of some of their contemporaries, but their versatility is a strength they can bank on in the long run.

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.

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.

He's aware he's building upon a past he sometimes pines for, yet he's restless enough to forage ahead into new territory, but only when he's surrounded by cozy, familiar settings.

They've found a capable formula that will appeal to many, but some more personality would go a long way to seal the deal.

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.

The quirky and antiquey title track is nothing but a cute lark and comes off as a bit trite in such purposeful surroundings. Think of it as a slight misstep or comedic interlude, but otherwise, this is engaging sweet techno with a smile, carefully crafted and yet seemingly carefree.

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.

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.

While certain songs definitely stand on their own, the ability to capture a feeling throughout is what makes the album memorable and worthy of repeat listening.

Just as pretty but more purposeful than Jones' previous output, Tranquilizers makes good on the promise of Dog Bite's debut and then some.

When it works, it feels lived-in, loved, and just occasionally lurid enough to satisfy the fans who hold "Golden Streams" as the litmus test by which all Hidden Cameras songs must be judged, but tracks like the slight, early Depeche Mode-throwback "Carpe Jugular," and the seemingly endless, dub-kissed "Afterparty" feel like they were tossed in to make what would have been a solid EP into a filler-laden long-player.

At times, Paisley seems a little beholden to tradition--he prefers tastefully burnished settings to an un-sanded, spiky mess--but he still has enough panache to give this a bit of resonance and that's what makes this record, which feels as if everybody involved wishes it was recorded in a cabin in 1975, rather charming.

While much of Have Fun with God will be reserved for Smog and Callahan superfans, or those who loved Dream River so deeply they'd need to hear it in dub, casual listeners will find something to ponder in the mumbling percussion, deep basslines, and scattershot echo vocals of tunes like "Expanding Dub."

Even in its self-conscious worship of shoegaze it could easily become a late addition in that genre's canon. Shelter is expertly crafted, inspired, vulnerable, and honest.

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.

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.

Rave Tapes takes a while to hit its stride, but it delivers plenty of moments to keep fans intrigued once it does.

It is to their considerable credit that Transgender Dysphoria Blues never sounds like the work of a band falling apart; if anything, they're reinvigorated, playing with a purpose lacking on 2010's softly unfocused White Crosses.

Calling EP2 "serviceable" might be a little harsh; instead, its best moments suggest that the Pixies are settling into writing songs that sound comfortable next to the classics and don't try too hard to reclaim the magic of the band's early years.

Describing just what Marijuana Deathsquads are up to on Oh My Sexy Lord isn't simple, but after taking a taste, don't be surprised if you ask for another dose before demanding to know the ingredients.

This remains some of their finest work to date, and whether you missed them back in the day or are updating your library, this set is a must.

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.

Somewhat unexpectedly, Hidden World makes an argument for Fucked Up as part of the thriving Canadian post-rock scene, which the band has previously willfully ignored.

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.

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

For all their technical skill, there's something terribly generic about this band, who don't seem to have a fresh or distinctive move in their entire repertoire as they bounce through their cookie-cutter tunes.

Approach this release as album number two and it comes off as a celebration based on past success, so use Up & Away as an intro, then join Ink and all the inspired party people he invited to My Own Lane.

No one doubts the power in Nettles' throaty contralto, but some of these songs feel too calculated or require more subtlety to completely pull off. That said, these simple shortcomings won't--nor should they--deter her fans.

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.

You can hear the isolated perspectives that it was made in creep into the finished products, which doesn't take away from the songs but adds a feeling of being stuck in some faraway dream to even the most immediate of the band's glowing pop tunes.

If you're already a serious Mark Lanegan fan, Has God Seen My Shadow covers a lot of familiar ground, but the 12 unreleased tracks amount to an album's worth on unheard pleasures, and if you've never been introduced to Lanegan's music, this is beautiful, challenging stuff for those dark nights of the soul.

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.

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.

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.

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.

Most of the time, Tough Age make it sound pretty amazing, and to both the head and the heart, these folks stand out from the run of the mill garage punk acts of the new millennium.

Strictly speaking, these 12 songs don't cohere into a mood or narrative but after two decades of deliberate, purposeful albums, it's rather thrilling to hear Springsteen revel in a mess of contradictions.

They've made a good career out of mixing the tongue-in-cheek with the truth, and Stoke Extinguisher is another in a long line of solid releases from a band that's made drifting between not caring at all and caring too much into an art form.

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.

Even if Wig Out at Jagbags is quieter than, say, 2008's churning Real Emotional Trash, it feels looser than most of the Jicks records; the compositions are tight but the attitude is ragged, which winds up being more infectious and fun than albums where the songs drift but the instruments are tight.

Cobble out the stellar EP inside or consider it a pre-mall mixtape because the puzzling Underground Luxury mixes mack daddy music with mall rat tracks, even if B.o.B's conviction throughout suggests he sees them as equals.

Frustratingly, the quality of Diary does dip in and out, with "What Am I Supposed to Do?" providing an unimaginative guitar bounce, for example. But when it works, it really does produce some memorable moments.

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.

Ocean Colour Scene are agile within the confines of their wheelhouse so it's enjoyable to hear them play and construct records, even if they rarely give you a reason for a return visit.

In time, it should be seen as a career highlight from a superstar--one of the hardest-working people in the business, a new mother, in total control, at her creative and commercial peak.

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.

Mostly though, the album is a successful blending of the past and present, with every new idea working out just right, with the end result being an album that capitalizes on the Liminañas' many established strengths and sends them shooting off in new directions that prove just as satisfying.

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

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

For serious listeners not content with the original vinyl and/or CD pressings, this excellent and thorough package is essential.

A Mary Christmas won't likely reach the high status of, say, Mariah Carey's Merry Christmas, but it's a full-effort holiday release that many of her fans should be able to enjoy for several years.

Sometimes, Davies' blend of hard rock and healing doesn't quite jibe--it can lose form and drift or it can hammer its points home too hard--but there's a dogged individuality to his mission that's appealing even when the music itself is not.