Because of their association with Bowie, the quartet's Beyond Now will get attention from a wider range of music fans than a jazz album normally would. But this record warrants attention on its own merits because it showcases the exciting, genre-blurring sound of a sophisticated band coming into its own.

Though they rock convincingly, there's something missing on Babes Never Die; they've become a more focused, accomplished band, but it's at a price.

The moody astral tones of opener "Good Mourning" get the album off to a slow start, but in general there are plenty of standouts scattered throughout Third World Pyramid that could stand up to BJM's best work.

Leaps beyond predecessor Stomachaches, Parachutes benefits from its creator's inner turmoil, providing as much emotional support to Iero as it does to listeners with similar struggles.

Two Vines may not be the group's masterpiece, but it is their most consistent album yet. Their mastery of modern pop sounds, ability to craft melodies that have a timeless quality, and the real connection they provide to people who want their frivolous pop music to have some depth and meaning, is impressive.

Honeymoon on Mars isn't up to the level of the Pop Group's finest recordings, but it's still punk/funk agit-prop that's fearless and unafraid to strike, and if anything, their brand of troublemaking is more deeply needed now than ever before.

Confessions turns out to be as charming as it sounds on paper; at times it's even profound.

The album is highly focused and engrossing, and continues Hauschildt's run of nearly flawless albums.

There are clever parts strewn throughout and some of the more ambient instrumental tracks like "i.v." and "l.i.v." are quite nice, but overall, the songs themselves don't have quite enough going for them to support the album's quirky intentions.

Eastside Bulldog doesn't sound like a typical Todd Snider album, but it's very much a product of his irreverent wit, and if you're looking for some tunes to turn up the party in the 30 minutes before last call, this could be just what you need.

Mapping the Rendezvous might not appease those fans still waiting for the return of St. Jude, but eight years after their debut, the Courteeners have grown up and streamlined their sound, resulting in a tight, energetic blast of dance-rock.

A few songs sound nothing like Crocodiles, like the rollicking Latin-inspired ballad "Alita" and the cheerful '60s pop/rocker "Not Even in Your Dreams," but it still works thanks to the focused songwriting and the care they put into the sound. That at least half the songs are among their most powerful and poppiest to date ("Telepathic Lover" chief among them) doesn't hurt, either.

Here and throughout Masculin Feminin, Blonde Redhead's sense of melody and drama sets them apart, especially on La Mia Vita Violenta.

Despite the talent on board and the high-concept thinking that went into it, there's a dry, brittle quality to Savoy Motel that saps this material of its strength, and this band has only so many tricks in its pocket to begin with.

Like an Arrow doesn't simply feel like it's built to last, it feels like it's been kicked around the block a few times and has emerged all the stronger for it.

An icy-cold affair. Proving that incarceration couldn't slow him down, the 13 tracks are packed with typical boasts, all come-at-me defiance and bravado.

Attitude counts for a lot with Chrissie Hynde, but the true appeal of Alone is how it marries solid songwriting with a sympathetic, surprising production, all of which amounts to a very satisfying Pretenders album.

It's his friendliness that makes his musings on the human condition work, and with Winter Wheat, he's once again crafted another thoughtful and meaningful set.

Integrity Blues is Jimmy Eat World's most immediately accessible and focused album in years, a peak in the decades-old catalog of these reinvigorated and endearing stalwarts.

From start to finish, Let It Be You is a collection of appealingly loose, lush songs full of creativity.

Most bands really want everyone to know how extremely hard they are struggling to create their art, but with these guys it feels like they just showed up at the studio and started playing, and the album magically was done. It's an approach that might not work for everyone, but so far the guys in Hooten TC have pulled it off for the second time in a row.

After a pair of lovingly crafted though similar-sounding albums, Apricity is a welcome venture into uncharted territory for Syd Arthur, and displays their willingness to grow and expand.

The Serenity of Suffering is a welcome return to a time when Korn were at the top of their game. It's one of their best albums, almost heart-warming in its cathartic familiarity.

Lighthouse is lovely, but the lack of attention to detail blunts some of the writing and playing craft on offer.

Some might miss the more abstract appeal of the original AF album, but the way the band updates and slightly expands that approach makes this new album a resounding success that works on the sonic level, and maybe more importantly, a deep emotional level.

It may even be their most consistently impressive and overall most cohesive record to date.

Despite his long list of gripes, sins, and losses, Cohen's instinctive opening to whatever light remains prevails on You Want It Darker.

Where previous Gaga albums were high-wire acts, Joanne is decidedly earth-bound, a record made by an artist determined to execute only the stunts she knows how to pull off.