Given how mercurial she's been, this stylistic return may be temporary, but it's so fully realized, it's also a most welcome one.

A nifty encapsulation of the group's style and attributes--the Killers cannily use the singles-centric conceit to showcase the band at their overblown best, emphasizing their arena-sized neo-new wave just slightly over their Springsteenisms

Every part of Purgatory/Paradise has meaning for the band and its listeners, making it a satisfying artifact in a time when music is becoming increasingly disposable. May they ever go against the grain.

Boot! not only refines what the Thing do, it extends them into a breathtaking sphere where a Babel-like musical conversation takes place, elevating all of its singular elements into a rough, raucous, glorious whole.

No matter the mood and subtle variation in sound, Fulvimar is in full control at all times, and while some may miss the garage punk style of the first album, Shine Your Light is an impressive change-up that will thrill those who stick around.

Last Patrol ties things up nicely with the one-two punch of "Strobe Light Beatdown" and "One Dead Moon," the former a blistering garage rock rager and the latter a midnight power ballad that shakes its fist at the inky blue and then disappears into its gaping maw.

It's hard not to find something to like here no matter where your tastes may lie.

With its more considered, balanced approach, Surrender to the Fantasy feels more like a complete album than Balf Quarry's collection of moments did. It may take a few more listens to surrender to its fever dreams, but it's well worth the effort.

When the album ends and the various styles, songs, and moods are added up, Midnight Memories ends up as another satisfying album that does everything a One D album should do and then some.

This isn't meant as a dismissal: Barlow has a knack for mildly ambitious piano ballads that gain strength from their hazily arty design as well as his studied melodicism.

Ultimately, the Warlocks only do one thing, but they've learned to do it quite well (or rather Hecksher does it quite well and knows where to get the assistance he needs), and 2013's Skull Worship confirms his obsessions have not changed one bit with time.

As on Woman, much of Jet Lag's lyrics slide between romantic and erotic, full of longing, discreetly laced with sexually suggestive content. It all adds up to a sophisticated electronic pop album with a serious lingering effect.

EVE has the undeniable edge in vitality when compared to More!, the duo's previous album, and there's much more depth and variety.

There are the purely lovely moments like "Midnight Glories" that help make Sumie a quietly compelling, inviting full-length introduction to an artist who can't help but bewitch listeners willing and able to embrace her stillness.

For perhaps the first time, his solo work feels less like a tangent to his work with the Strokes and more like something sustainable in its own right.

More of a well-crafted showcase for Benson's always strong tunes than a greatest-hits collection, You Were Right feels like a proper album and meets the same high bar set by his previous work.

DeGraw's unique production mastery finds some of its most vivid articulation on Sum/One, and sinks its hooks in effortlessly despite the fearless weirdness that comes through on every track.

Along with celebrating the boldest parts of Stewart and Simone's art, Nina marks the return of Xiu Xiu's uncompromising side at its often exhilarating best.

Harlem River is a journey worth taking and an excellent debut from an emerging singer/songwriter.

By the end, the dizzying and beautiful piece expresses the fury and unpredictability of life while maintaining a zen-like calm at its core, finding clarity just as easily as it rises to chaos.

Love's Crushing Diamond is a title that captures the hope and hardship in these songs, and the album's kindness and calmness make it the musical embodiment of a friend whose shoulder is ready to cry on at a moment's notice.

Think of A/B Til Infinity as a more mysterious version of the project's 2011 LP Bible Eyes, and all the meticulous production, overall album flow, and attractive song structure rules still apply, but this one can be parted out much easier, offering up about four 12"s worth of late-night dancefloor intoxication that are still rich enough tracks to hold up for headphone listening.

Join the Dots shows that instead of limiting themselves, TOY have just gotten better overall--arguably the more difficult, and rewarding, path for a band to take.

[Carcass offers] up an 11-track tour de force that's as visceral, inventive, and grotesque as Symphonies of Sickness, yet infused with the dense, machine-shop precision and chrome veneer of 21st century metalcore.

There's an element of nostalgia for times that are long gone, but with songs this strong, it almost feels like a necessary self-referencing for anyone who missed the band the first time around.

The intimacy and raw beauty of Live at the Cellar Door makes it not just a must for super fans, but a valuable companion piece to any of Young's early studio output.

Third time’s the charm for horrorcore rapper Hopsin, as the angry and often awful character balances his aggressive, violent vocal style with more pop and approachable music during the rewarding Knock Madness.

Connecting with the album is nearly impossible, understanding it is difficult, and often enough, its inflated ego is irksome, but Because the Internet is too free and fascinating to be dragged down by these complaints, so if a Yeezus with more flash and fun is what's required, Gambino's got the good stuff.