Every Time I Die have established themselves as one of the more reliable and relatable (in a nervy, dysfunctional way) acts to come out of the genre, not to mention one of the most discernable, and the commanding From Parts Unknown does nothing to tarnish that reputation.

The sounds are by turns troubled, angry, isolated, and wonder-struck in ways that only Hawtin can sound, and Ex adds another mysterious chapter to the Plastikman story.

With sharp production and some of the better compositions Phish have managed in ages, Fuego ranks among their best studio albums, capturing strands of the frenetic, cartoonish, darkly cautionary, and open-hearted expressions that make their concerts such moving experiences, but which often get lost when the tape starts rolling.

Ambitious in its reach, Remedy keeps close to the ground in in its inspiration and execution.

Revival ranks among their best work and is definitely their most contemporary effort in tone.

Common Ground isn't "The Return of the Alvin Brothers" so much as a joyous continuation of the mission they launched when the Blasters first hit the stage in 1979, and if they're a little older and craggier in 2014, they clearly know how to make this stuff rock, and this is a modest triumph for one of roots rock's most fascinating partnerships.

This album presents a more pronounced sense of drama from the progressive aspect of analog electronic exploration, and delivers compelling yet open-ended compositions. To that end, it is nearly sublime.

To say it's her most accessible album yet doesn't diminish it or her previous albums; instead, it's the sound of Furler owning her success.

The Phoenix shouldn't shock those who know the producer's past.

All the new bits here and there, and the slightly altered course, help to make Paperback Ghosts the most accessible Comet Gain record yet, without compromising any of the burning passion that has made them so important to their loyal fans.

This is a debut by default and not an all-encompassing coming out party, but Skull and Popcaan are simpatico on Where We Come From, so love it for what it is.

Tales of CSNY acrimony are legend, but this rancor rarely surfaced on record. Here, those brawling egos are pushed to the forefront, with all the pretty harmonies operating as an accent to the main event.

Some Reigning Sound fans might miss the harder-rocking side of the band, but if you're looking for ten new Greg Cartwright songs sung with real heart and soul, Shattered is just what you've been waiting for.

In theory, balance and restraint aren't the most exciting virtues for an album to possess, but in practice, Liminal's subtlety is confident and dynamic.

It's not the Scotland of Walker's shortbread and red-bearded pipers that so often gets shoveled out to tourists, but a moving portrait of strong-willed people enduring in times of change.

No matter what he ends up doing, Strange Desire is a very strong, sometimes thrilling slice of modern nostalgia that gets better with every listen.

Wonders never cease on Mandatory Fun, and neither do the laughs.

Yes! is not a record fueled by the heady rush of love at first sight; it's an album designed to soundtrack a long getaway weekend for a couple already in love.

So basically, it's another weird, great White Fence album, only the bass is a little clearer, the drums a bit louder, and there's less tape hiss. Only die-hard four-track fanatics could complain about that.

At once hookier and more abstract than some of X&O's previous albums, Par Avion is another subtle step forward for the duo that should please longtime fans and win new ones.

Alvvays find a way to articulate their heart-struck, dream-like songs with deft intention and control.

Showcasing Cold Beat's versatility as well as its focus, Over Me lets listeners discover more each time they play it--which should be often.

Everything Infinite is an amazingly focused debut from a couple of guys who have already perfected their sound and give the impression that they could keep doing it for years to come.

It's a shame that such a vanguard effort is weakened by a few clever and jokey interludes that don't warrant a return, but that just leaves Shabazz Palaces room for a proper masterpiece as the brilliant Lese Majesty is so very close.

The second half, where he traces his friendship with J Dilla, involves some brilliant storytelling, and perhaps the only moments during the album's sessions when Common cracked a smile while recording. It's a touching finish to the rapper's best album since Be.

PS I Love You have crafted an undeniably pop-centric slab of modern noise rock that gives a tip of the hat to manic confectioners of the past like The Pixies, Pavement, Weezer, and Jesus and Mary Chain, and that tour-T-shirt-and-empty-juice-box early- to mid-'90s vibe permeates the majority of the proceeding.

Joyce Manor make 20 minutes feel way more epic than the running time might promise, and Never Hungover Again ends up as the kind of record that feels like an instant classic.

They are ruthlessly efficient, unmerciful, redundant, triumphant, and wholly invested in darkness, volume, destruction, and little else.