La Roux's dedication to their aesthetic makes this an album where the songs are variations on a theme, and on the rare occasion where the songwriting isn't razor-sharp, the style threatens to overtake the substance. However, that devotion also makes La Roux a standout, not just among the many other '80s revivalists, but the entire late-2000s pop landscape.

Nothing here is flashy, which is keeping in a long tradition of Hunter's and is yet another reason why he's often called underrated, but when he's making records as rich and resonant as Man Overboard at the age of 70, it's hard not to listen with not a small degree of wonder.

It's quite a stunning sequence, and evidence of the breadth of Nosaj Thing's compositional prowess, which extends from a fine ear for minute detail to a rare sense of album-length sweep.

Of the Cathmawr Yards is a weird album, but sometimes weird is exactly right. That's the case here.

While Interpol is far from a simplistic band, more often than not Julian Plenti Is Skyscraper takes the scenic route, and it pays off with an intimate, subtle set of songs that are strong in their own right.

Tribute To remains reverent despite those unique touches, however, and Jim James (or Yim Yames, or whatever he's calling himself nowadays) sounds fairly fantastic throughout.

The singing may be subdued and the playing quiet, but everything here packs an emotional wallop.

There's almost a subversive aspect to how City Center doesn't play to Thomas' known strengths, but the risk pays off: City Center adds another fascinating dimension to his music.

Its lengthy incubation process notwithstanding, V.V. Brown's clever debut album, Travelling Like the Light, is as genuine, natural, and deep as mishmash throwback pop can get.

Their sound will never grow tiresome; it only gets better with repeated use.

With Two Dancers, the Wild Beasts move from fascinating to accomplished, and that they did so just over a year after releasing "Limbo, Panto" makes that achievement all the more impressive.

For those with more of an ear for intricate soundcraft and matchbox symphonies, The Camel's Back ends up being something far more satisfying and memorable.

The bottom line is Troubled, Shaken Etc is an album: paced, sequenced, structured, and produced as such. It's utterly lovely, feminine, and subtly adventurous.

Espoir is one of the great surprises of 2009.

The songs here all sound very samey. Not to say it's an easy listen. It's a dark one, and many songs lose themselves in sleepy, drawn-out droning. However, extended jams should be nothing new to those well-versed in the Warlocks catalog

To be sure, this is recognizably within his comfort zone--as always, when you do it as well as he does, there's no need to change--but beneath that supple exterior there are a few surprises, chief among them the re-emergence of Strait the songwriter.

We could have used more of the Incredible String Band or Richie Havens! But these are individual complaints. The set as it stands is the ultimate document--thus far--and will likely be for some time to come.

Hot Mess is a complete success and shows that the band could possibly grow past the comedy and become something else entirely.

It flows. Because it's not as insanely cut as your typical IDM, it works as subtle, non-distracting background music, but it's still detailed enough to make for some enthralling headphone candy as well.

Seventeen years old and already turning the heads of critics, producers, and session musicians alike, Sarah Jarosz is not only a jaw-dropping talent but a multidimensional one, as well.

Gorgeous Johnny may be too well crafted for the band's traditional-leaning fans, but its highlights are hard to resist.

Anjulie is quite impressive as an opening salvo from a talented musical collagist whose minor flurry of hype is well-warranted.

Middleton and company burn through a set of excellent songs with confidence, ranging from other quick-as-hell rundowns to calm reflection.

While the band's subtlety and consistency threaten to work against them at times, XX is still a remarkable debut that rewards repeated listens and leaves listeners wanting more.

Infinite Light shows that Lightning Dust haven't lost any momentum since the release of their self-titled debut.

James Shaw and James Ford are still enforcing limitations on their sound, and while they may be smoothing out a few of the rough patches that would make a more interesting record, their sophomore follow-up is a worthy heir to the original.

Wind's Poem strikes a balance between accessibility and ambition that offers something for every kind of Elverum fan, but never sacrifices its purpose in the process.

They will need to move on eventually, but for now Bricolage are just fine doing what they are doing, and their debut delivers on the promise of their early singles and then some. Edwyn (and Vic and James) should be proud.