What underlies the handclaps and radiant melodies on their sophomore album Divisionary are songs that noticeably delve deeper into philosophical and darker themes than the wide-eyed optimism that engulfed their debut, and marks the evolution the band have undergone.

What makes Picture You Staring so deeply enjoyable is the band’s acute sense of when to obscure their sound and when to let it shine through. Walking this tightrope, TOPS never go so far off the deep end of their experimental recording side to completely hide their sad-hearted hooks.

The group really did a fine job of crafting something low-key and gloomy here.

Worthy is another impressive release from an outstanding singer, and if it follows the pattern of some of her recent albums, nothing here sounds rote; this is the sound of an artist doing what she does best, and she is far more than worthy of this great music.

All these years on, Soul Food may sound as revolutionary as its predecessor, but it is stronger and far more adventurous musically.

Throughout it all, co-founders, producers, and arrangers Ben Ellman and Robert Mercurio sonically map out a NOLA that's as vibrant and forward thinking as it is steeped in the region's rich culture, cementing the band's reputation (20 years in) as both innovators and stalwart defenders of tradition.

Armed with several strong songs, Georgia is an impressive, inventive debut.

An album that embodies all the complex contradictions and unfettered optimism of modern country-pop in 2015.

Every other record in their catalog hinted at their further development as a metal unit; this one doesn't. Trivium are using the building blocks of metal to pursue a wider, more nuanced, musical direction.

Returning fans won't be disappointed, while newcomers with a taste for blissful journeys will likely be entranced.

It's exciting to hear someone so young and confident on the cusp of greatness.

The talent and vision of these artists makes this a surprisingly powerful and impressive work, and is a testament to the fact both the Mekons and Robbie Fulks need to record more often. When they do, the results are never ordinary, and neither disappoints.

Any listener who has derived satisfaction from Snarky Puppy's live recordings will easily find it here, too. This is the place where musical restlessness and discipline meet creative adventure.

Ultimately, while Metheny is the undisputed leader here, it's the thoughtful interplay of all the Unity Group's members that makes these sessions so involving.

Hunter works within his limits, rocking just hard enough to seem vital and, best of all, his songs remain a thing of wonder: careful and clever, the work of a singer/songwriter who values idiosyncrasy over eccentricity.

XAM Duo is a synth lover's dream, a calming balm to the hectic hustle of modern life, and a trippy excursion into the futuristic past.

The boldness and hunger in Mandel's playing not only achieves the hallmarks of his best sides from the '60s and '70s, but at times reaches further. Not just a guitar nerd's album, Snake Pit is a stone killer from top to bottom.

Up and Coming clocks in at under 50 minutes. Its compositional and improvisational economy is countered by the quartet's disciplined ability to colorfully and authoritatively illustrate an abundance of creative ideas without even hinting at compromise.

Forever and Then Some is as moving as it is auspicious. Mae is a singer/songwriter whose embrace of roots musical traditions bodes well for her as she articulates her own vision of Americana.

It's spacious and fluid rather than rock-solid and rigid, but every sound and movement feels entirely deliberate. Nearly 40 years after their formation, Laibach remain innovators, and Also Sprach Zarathustra is easily one of their best works. Absolutely glorious.

It's very difficult to argue with what Rawlings and company have assembled here. Aside from one misstep (that, to be fair, others might find less wearying) ["Lindsay Button"is the set's longest track and it feels like it], it's every bit as good as Nashville Obsolete.

Life Is Fine doesn't break new ground for Kelly, but it also shows he doesn't need to come up with new concepts or mess with his formula in order to make a memorable album.

Isotach means a line on a map that connects points of equal wind speed, and this feels like an album that's attempting to achieve some sort of equilibrium--a fragile balance that Bourne goes some way to accomplish.

Although there are ominous qualities to some of the tracks--blunt drums, clanging noises, refracted and probing synthesizers evoking not-so-fun houses and slasher flicks--this is brighter than Two/Three. Sweet and synthetic woodwinds and strings, sublime piano loops, and other delightful wrinkles are more common than the creep-out components.

Victory Lap is not just a celebration from the scrappy MC: it's a deserved moment marking his journey from Crenshaw to the majors.

Fortunately, Goat Girl's singles offer a more pulled-together version of the band's bracing sound, whether it's the wry jangle of "Cracker Drool," the hip-shaking sass of "The Man," or the sexy, sneering defiance of "Country Sleaze." Moments like these are so compelling that they suggest Goat Girl are just beginning to tap into their potential on this exciting debut.

The Alligator Bride is louder and prouder than Mansion Songs, but it's also somehow more relaxed, as if there is nothing to prove. Hopefully, Miller will keep this rocking line-up together for the foreseeable future.

At first glance, it's easy to underestimate Culture Abuse for the part-time slackers they present themselves to be, but there's a lot more to them than meets the eye on this satisfying second effort.