Their music is evolving in sync with their technology, and AAI presents a bold challenge to conventional notions of creativity, authenticity, learning, and emotion.

With Reznor and Ross supporting such a weighty artistic vision, Halsey takes a huge leap forward with this course-changing opus, a revelation that finally presents their most authentic representation of self.

Beabadoobee refuses to be boxed in as she grows as a woman and artist, and on This Is How Tomorrow Moves, she dares her listeners to keep up with her changes.

By maintaining a more or less accessible alt-pop center, Mangan and company have given themselves free reign to fill in the edges with whatever they see fit, which they do with gusto throughout Club Meds' perfectly acceptable 45-minute runtime, which is something that only happens when a band, not an individual, is firing on all cylinders.

The songs are sturdily written, clever tunes in a classic guitar-pop tradition but the execution eschews conventions, resulting in a vivid, lively and refreshing album.

This music confirms the Mountain Goats have talent that's on par with their ambitions, and this album is a thoughtful, dramatically satisfying experience.

It is, thus far, his masterpiece, and as beautiful a pop record as can be made these days.

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.

The upbeat "Motors Runnin" is a standout, addressing the endless and unpredictable ride of being alive while summing up the restless wonder, excitement, and confusion that lie at the core of the album and find a different voicing from song to song.

The sad country warmth of "Play the Game" and the starkly fingerpicked front half of "Soon" are soothing in their implied heartache, inviting listeners to lean in and try to untangle McMahon's lyrics through her downcast mumbling. Sadly, those same mumbled vocals sometimes become a hindrance during the slower sections of the album, distracting from the otherwise well-written songs. Still, delivery affectations aside, Salt serves as a solid introduction to this sensitive and engaging artist.

While at this point there's some unavoidable self-awareness to their craft, it does nothing to take away from the exhilarating fun and lawless excitement of the album.

He may be prolific, but he certainly isn't spread too thin, as The Good Fight is inspired, infectious, and artistically grand.

Tightening up some loose ends might have made The Waeve more cohesive, but at its best, it's elegant, unpredictable music made for the sheer rejuvenating pleasure of it.

Amidon may have outdone himself when it comes to Salt River's ability to be at once trippy, bucolic, sophisticated, and simple, like a dream about a folksong.

It shocks by sounding as vital as Dinosaur Jr. ever has. Deciding to not to build upon the expansive textures of I Bet on Sky, the trio nevertheless sounds vividly oversaturated throughout Give a Glimpse of What Yer Not.

Mason's career has been one of constant starts and stops and side-project misdirections (for his fans, at least), so the straightforwardly eccentric Boys Outside is clearly a record to treasure.

Electric Circus does suffer from that which ails many contemporary hip-hop albums -- too many guests and a generally lengthy program drag this one down a tad. Nonetheless, Electric Circus is a brave and ruthless statement wrapped in sincerity.

All the restless energy adds up to a few too many diversions.

Nearly all of Wig in a Box is both unique and successful.

After five years, the band has lost nothing, only gained.

Without a concept to tout, The Grind Date doesn't gel like AOI: Bionix, but it does show De La Soul keeping everything together more than 15 years after their debut.

One long angelic hymn for an insane world with the intimacy of a friend playing guitar in your living room and the grandeur of Sigur Rós.

There are moments of quirky holiday splendor -- moments akin to some of the best material on Greetings from Michigan and Illinoise -- that make plowing through the entire five-EP set a pleasure.

Spread over 15 tracks, the combination wears thin at several points, and several songs feel more like their creator's solo work than a composite product. Monsters of Folk has moments on undeniable beauty, though, and when the musicians pitch their voices atop one another--as they do to notable effect on the gorgeous "Slow Down Jo"-the benefits of teamwork are more than clear.

It's his most downtempo effort, and all that much more soothing and captivating.

The creative progression O'Brien exhibits here leaves no lingering questions of doubt whether he would succumb to the dreaded second album syndrome, and regardless of awards, wayland sees the Irishman at his best, both musically and lyrically.

Even more ambitious, rewarding and exciting than its predecessor, Carnival of Souls is a thrilling album that raises expectations for the trilogy's final installment to the skies.

On Quietly Blowing It, M.C. Taylor reminds us he knows how we feel, and that he feels the same way; perhaps that helps only so much, but there's a lot to be said for a friendly voice during a hard time, and that's just what this album delivers.