As it is, Ooey Gooey Chewy Ka-Blooey! works perfectly well both as a tribute to one of the most underrated musical styles ever, and as an album that's fun from beginning to end, Dirtbombs-style.

In essence, the album is everything you could want, finding Mazzy Star older and wiser, but still as dreamy as ever.

This Is...Icona Pop is a consistently fun album, and it would be even without their big single.

It's a variation on the JBs' dubbed-out compound of synth pop and post-disco, and it suits Lanza's voice to enticing effect.

Young always seemed a shade too earnest on his earlier records so this unabashed embrace of country-pop--one that wasn't necessarily pushed on him, based on the six co-writes he has here, almost all of them among the poppier material--is at first a little startling but it winds up being the right direction for an artist whose greatest asset has always been his inherent likeability.

It's an ironic title for an album that's so sure, and even if his early fans frown as their dancing shoes collect dust, complaining about what doesn't happen on Lost seems silly when compared to the wonderful and intoxicating things that actually do.

Man & Myth is Harper at his best, fully in command of his vision, his curious, lovely melodic sensibility, and, of course, his poetry.

Take Me to the Land of Hell delivers performances with the kind of weight--and lightness--that can only come from an artist entering her ninth decade.

Lanterns on the Lake allow themselves to build on and expand the sound of their debut for Until the Colours Run, bursting open at times with purpose, while drawing on the cinematic sounds and folk storytelling that bind together a magnificent collection of tracks.

Au Revoir Simone came back to show their contemporaries a thing or two about being a great synth pop band.

Though Negativity bounces around a little, its tormented core and multifaceted musical approach make it one of Deer Tick's most consistent and enjoyable albums.

While the jumping-off points are clear, enough personality and disjointed arrangement keep More moving along in a way more familiarly dreamy than derivative.

A debut album that could pass for a greatest-hits collection, Days Are Gone will provide musical comfort food for some, and possibly an introduction to irony-free pop for others.

Ultimately, with Brass, the Royal Bangs have tested their musical mettle and created a possible future classic to be appreciated for years to come.

For the most part, the album showcases Oneohtrix Point Never's restlessness and ambition in flattering ways; if it's equal parts mystifying and beautiful, it's also a puzzle well worth trying to figure out.

Clocking in at over an hour, Soma is by no means a brief experience, but Windhand's ability to craft doom that actually feels dynamic makes the album the sort of meditative journey that metal fans would be foolish not to embark upon.

With the distractions of Flynn's burgeoning acting career and the birth of his first child, Country Mile may not have been the great creative leap forward that some fans were hoping for, but this beautifully written album stands up to anything in his catalog.

Once it's clear that anything can happen, the lack of a common sound makes each track an exciting new proposition, allowing the listener to feel a sense of discovery despite the fact that they've been listening to Quasi for as long as two decades now.

Deltron veterans will get the most out of this return, as their cherished classic goes from secret to high-profile, all while keeping the legacy intact.

Internal Sounds both solidifies and expands on the veteran group’s signature tone, beefing up the punk-infused, psych-rock twang without losing any of the technical mastery and subtle nuances of the playing.

Though the songs here would have fit in with the best of their earlier phases, they manage to inject deeper subtleties and emotional crosscurrents than even their best work from the '90s without getting too soft in the process.

Savages is meant to be taken as both a warning and a rebel yell, and Cavalera and company connect on both levels, offering up an audio invoice for our past transgressions and a shot of adrenaline for the war ahead.

Calvi's less adventurous fans may find themselves at a loss as to how to process it all, but there's something both immaculate and broken about One Breath that ultimately transcends its more difficult moments.

Lyrically and melodically it plumbs the depths of emotion, making it among the most compelling entries in Jesu's catalog.

Too Weird to Live, Too Rare to Die! paints an exciting picture of Panic! At the Disco's genre-bending career trajectory to come.

Although this box is not perfect--it's hard not to wish there were no duplications on the first two discs, or the last two--it is nevertheless a mighty testament to the Band at the peak of their powers.

The way Mesirow balances all of Interiors' concepts and sounds into songs this streamlined and appealing makes it even more akin to a marvel of modern architecture; it feels intuitive and effortless, even if it most likely wasn't to create it.

It's Lee's talents as an insightful songwriter and soulful vocalist that beg your attention on Mountains of Sorrow, Rivers of Song.