If Introduction to Escape-Ism lacks the punch of some of his band projects, this he is as purely himself as you could hope for, and hearing him work his songs over his own thrift store soundscapes is an engaging experience.

Value is bleak, uncertain, and disconcerting, and even fans of Safe might find it a bit hard to connect with, but Visionist has a talent for reaching deep within and channeling existential crisis, and the album is another success. No one said this would be easy.

Wizard Bloody Wizard doesn't break any new ground for this band, but innovation has never been what these folks are about. Instead, their albums are offerings to the gods of the blacklight poster and the bong, and on that level, Electric Wizard appear to have made their masters very happy indeed.

Additional songwriters and producers, including but not limited to Timbaland, Stargate, Emile Haynie, and Malay, contribute to one or two songs each, but this album maintains a consistency and intensity that places it slightly above the debut.

It's definitely the warmest-sounding Corrs outing to date, and the austere studio setup lends itself to the band's penchant for pairing pop acumen with Irish balladry, which they do with great aplomb on heartfelt cuts like "Son of Solomon," "Dear Life," and "Live Before I Die."

For their part, Sharp and Keith continue to swap guitar licks and lead vocals, uniting in loose harmony and occasionally dialing up the tempo on tracks like the Keith-led rocker "Sally Rose" and the mellow yet jaunty Sharp tune "Strange Insistence." For the most part, though, Out of Range stays in first or second gear as the panoramic landscapes pass languidly by.

While likely of interest mostly to dedicated fans due to the eclectic nature of the recordings, it may also pique the curiosity of those less familiar with Olsen's growing, distinctive catalog.

It's a solid label debut that finds its own footing apart from the Wilco connection.

Blitzen Trapper have always been at their best when the rubber meets the road, so to speak, and highway-ready anthems like "Rebel," "Stolen Hearts," "Dance with Me," and the soaring title cut don't disappoint, delivering a perfect blend of pathos and Pacific Northwest wanderlust, which incidentally is exactly what made Furr so compelling.

Every number is given a slick electronic gloss that pushes it in the direction of adult contemporary MOR. Far from being a detriment, however, that's the strength of Unapologetically: It remains vibrant and fresh even though it sounds measured and mature.

Interiors is not only a quality record in isolation, it also encourages a reappraisal of their two previous efforts and the band's wider significance. Nevertheless, it's not an exercise in rehashing old glories, either.

It's enjoyable yet familiar fare, and whether or not Ulrika Spacek bring anything new to the art rock table is certainly debatable, but with Modern English Decoration, they've definitely established themselves as reliable, and occasionally crafty, sonic spellcasters that reward a patient ear.

Taken together, for its somewhat lofty inspirations and complex construction, Onism is above all a fun listen, full of discovery, whimsy, and musicality. And it's got a good beat.

With Ross as a foil, Reznor's usual indulgences become focused and refined, making Add Violence a satisfying addition to NIN's less-essential, non-album output.

Dauwd takes more risks on this album than on his prior releases, and it ends up being his most rewarding work yet.

A lifetime away from the Long Island quartet's emo and pop-punk origins, Science Fiction is a complex and nuanced beast of introspective indie rock and detailed production.

While this LP is yet another release that is not Maxinquaye, compared to the average Tricky album, it's accessible, mostly focused, and offers a handful of moments that remind listeners of his early promise and hold attention until his next effort.

20 Years in a Montana Missile Silo's glimpses at life's unknowability are disturbing, affecting, and always fascinating--and prove that Pere Ubu are as vital as ever in the 2010s.

When artists reach a certain point in their careers, they can maintain the status quo or they can challenge themselves; Ranaldo chooses the latter on Electric Trim, imbuing his poetic cool with earnest, quixotic charm that makes this some of his most wonderfully unpredictable music yet.

Trouble No More, more than Saved or even the fine Slow Train Coming, is buoyed by the music. Whether he's singing a slight song, easing into testimony, or leaning into a blues, Dylan seems engaged, even on the verge of rapture, an excitement that carries through the full live shows from 1980 and 1981 on the Deluxe Edition.

The robust rhythm battery of Rönkkö and bassist Rasmus Stolberg really propels 1982 forward and adds a great deal to their bigger picture. An improvement on their debut, this release solidifies Liima as a band.

Peeling away the factors that obscure Griffin's talent--the vulgar hedonism, the cavalcade of predominantly superfluous guest artists--can take some effort. Beach House III is nonetheless conclusive evidence that the singer, rapper, songwriter, producer, and multi-instrumentalist is among the most skilled and creative figures in the business.

Though Ware co-wrote all the songs and is in full command from start to finish, the album has a stitched-together quality that starts to slowly unravel during the second half.

Even if Joli Mai's presentation isn't quite as dazzling, the undeniable quality of these tracks makes it a welcome companion piece for more than just completists.

Elegant from the first minute to its 70th, Ojalá is an essential album for fans of Raymonde-affiliated projects like Snowbird and This Mortal Coil, and is among his and the year-in-indie's most exquisite works.

Everything comes to a head on "Closure," an extended 11-minute smooth-funk jam that throws all the album's strict structure out the window. Its presence not only draws attention to how Maroon 5 can vamp, it also highlights the discipline behind the rest of Red Pill Blues.

Hushed yet haunting, Phantom Brickworks offers a beautiful new perspective on Bibio's music.

As it stands, New Shapes of Life is a solid record that connects quite often on an emotional level, but is far too easy to tune out and shift to the background, something that can almost never be said about any of Carr's previous work.