Ellipse is some of her most wide-ranging work, physically and musically speaking.

Despite its ominous (and lofty) title, No More Stories/Are Told Today/I'm Sorry/They Washed Away/No More Stories/The World Is Grey/I'm Tired/Let's Wash Away is a dreamy blend of circular melodies and odd time signatures that requires multiple listens (this is par for the course with any Mew album) and a significant amount of cinematic stamina from the listener, and though it may not appeal to the masses, its mass is definitely appealing.

Over-processed and chaotic it may be, but never bereft of invention, Complete Me is always an intriguing listen that confirms the arrival of one of the U.K. dance scene's most exciting talents.

Add Kahne's instantly accessible production and Light is not only a welcome surprise, but an album that matches his debut.

It's a joy to hear, and it's comforting that Sainte-Marie is still writing amazing songs, taking firm social and political stands, performing with spirit, joy, and passion, and pretty much doing what she's always done.

Their music is solid, Southern-style meat-and-potatoes rock at its best; it's a formula they've mastered over the years, and Lean Forward shows it's still delivering soul-satisfying results more than a decade and a half on.

Love and Curses features 14 songs driven by soul, strength and fierce belief, and with a voice as strong as Greg Cartwright fronting a band this tight and effective, Reigning Sound are just about unbeatable; they're one of America's great bands and they're firing on all cylinders with Love and Curses.

Doubt can be crippling, but it also serves a positive purpose here, as Bazan has rarely sounded so convincing in his vocal delivery or songwriting.

Heartbreak can tear a songwriter to shreds, but it serves the opposite purpose here, lending a sense of vulnerability to Fink's baritone and adding some much-needed drama to the band's music, which previously concerned itself with twee-styled progressions and summery melodies.

In sum, Spirit Moves is a welcome departure for Douglas, who has been working with his longtime electric band and more recently with his great Keystone group.

As fine as those nearly 16 minutes of controlled chaos are, it's the first half of Popular Songs that you're more likely to come back to, where by thinking in a small space Yo La Tengo have challenged themselves a bit and beautifully risen to the occasion.

Well-chosen guests like Fatman Scoop and Pharoahe Monch increase the thug appeal while earthshaking productions from the Alchemist, DJ Khalil, and Mr. Porter seal the deal.

The Blueprint 3 isn't a one-man tour de force like the first. Jay is upstaged once or twice by his guests, and while the productions are stellar throughout--Timbaland appears three times, and No I.D. gets multiple credits also--it's clear there's less on Jay's mind this time.

Reunited (partially) in 2006 by the acclaim of their fans, Os Mutantes sound just as vital as they did back in 1968 on Haih...Ou Amortecedor.

For many, Health's noisy tendencies will be a bit much, but those who aren't afraid to dig deeper will be rewarded greatly.

This sequel may have little to do with the original, but if the title helps to point out this is the Shaolin poet's best work since 1995's Pt. 1, then so be it.

It's all really quite astounding. Neo-soul. Yep. That's what this is. And it's damn good. Soul, neo or not, is soul, and this guy has it.

"Black Holes and Revelations" may be a more commercial record, but The Resistance is Muse's most realized effort to date.

This first official release is a soul searcher and may require more patience than your everyday debut. Still, the chilly, complicated Man on the Moon perfects the futuristic bleak-beat hip-hop Kanye purposed a year earlier, and rewards the listener with every tripped-out return.

It says quite a bit about Nelly Furtado's ambitions and skill when her Spanish detour winds up being arguably her strongest album yet.

While the pieces that put the orchestra at the fore are the most dazzling, Central Market is a tour de force that only grows more fascinating with repeated listens.

Anyone who liked "Life in Cartoon Motion's" bright, brash approach won't be disappointed by The Boy Who Knew Too Much--it's clear Mika knows exactly what he's doing.

Even though she's borrowed a lot here--from Animal Collective, from Pakistani music--Bergsman manages to give it all a tender, sad-yet-sprightly touch that's completely her own.

Girls' 2009 album (simply titled Album) actually proved itself worthy of the hype upon its release.

This is a deeply focused, wonderfully colorful, and deeply expressive work that showcases a collaboration between mother and son and displays depth, strength, creativity in spades, and intense beauty.

Here Comes Science is another fun, educational triumph.

Deeply atmospheric even for a Kranky release, As Good as Gone's subtlety is its strength, and shows how Foote, Dickow, Owens, and company bring out the best in each other.

Revolution offers a strong, cohesive take on what has quickly become the “Lambert sound:” a blend of lilting ballads and loud, fire-breathing anthems, many of which owe as much to rock & roll as country.