The broken-hearted Longstreth sounds like a changed man in many respects, but he's no less talented and visionary than he was before, and Dirty Projectors demonstrates that musically and lyrically, love and its absence have taught him a thing or two.

This large, cavernous sound camouflages the lingering emo elements which largely surface in the angst-mining lyrics, as well as the occasional bellow, and even if this lack of stridency may alienate some longtime followers, this gleaming pop-punk makeover is the band at its most immediate and easy to enjoy.

While Once Again might not get as much attention as its predecessor, it's more assured and sounds nothing like an experiment to see what sticks.

It's both club- and cafe-ready, artsy, cool, and elusive enough to woo the Williamsburg contingency, yet soulful and lightly sweetened with warm Southern honey.

Righteous anger, razor-sharp songs, and killer music is a trifecta few punk bands can claim on their first album, but Single Mothers hit the jackpot on Negative Qualities, and if this doesn't turn out to be the best punk debut of 2014, then the music has been having a truly great year.

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

While Liberty is more often than not gentler in tone than Ortega's preceding albums, it is by far her most innovative and powerful, and stands as her masterwork thus far.

Even with the R&B-leaning roster of guests -- Jill Scott and Snoh Aalegra are also on board -- Alicia is Keys' most moderate work, seemingly hedged with an objective to appeal to as many listeners as possible. There's at least no doubting the artist's intent to heal and uplift, and she puts it across with some of her most nuanced vocals.

Light of a Vaster Dark is ultimately the most integrated, seamlessly rendered aural illustration of McCarthy's unique vision that Faun Fables has released to date.

Despite all the intensity, the Last Shadow Puppets have a light touch--their songs are short and don't overstay their welcome, and the whole affair is just arty and indulgent enough to make it special.

Tropical Fuck Storm are fast becoming a watering hole for listeners with a thirst for the weird, and on Braindrops, they have eschewed formulas to such an extent that they are now staring back through the dimensional mirror with wry smiles and killer tunes.

Even considering the over-abundance of elaboration on all fronts, it's a credit to Lupe that he has made an album that cannot be processed after one or two listens, and if you have the time, its inscrutability turns into mere complexity.

Everything sounds gorgeous, from Little Scream's hazy warble to the two minutes of rainfall, audible rush-hour traffic, and wind chimes that end the album. This is an absolute beast of a debut.

Not surprisingly, it's the less propulsive numbers that truly resonate on What the Brothers Sang, as Oldham and McCarthy sound less emotionally constricted at a more measured pace, and when they allow their muses to meet, as they do on highlights like "Breakdown," "What Am I Loving For," and the beautiful closer "Kentucky," the results are transcendent.

Appropriately titled, the album is packed with feel-good, summery nostalgia that breezes along at a clip with Greedo's varied delivery, which switches between auto-tuned crooning and wordy bars.

The biggest complaint has to be that the early single 'Nike Boots' is missing, but otherwise, this unique debut does not disappoint.

By shedding the smirking artifice that served Casanova so well, and hiring producer Nigel Godrich, the Divine Comedy may be treading dangerously close to the sounds of countrymen Radiohead, but the Divine Comedy are smart enough to give listeners just enough lyrical bit to throw them off the scent.

There is little time for respite during their breezy debut album that bridges the gap between heavy-hitting rock and digestible pop/rock.

Grandfeathered shows them looking outward while successfully building upon their already impressive sound.

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.

The Lonely, The Lonesome & The Gone provides listeners an exceptionally well-rounded portrait of both the mature writer and the iconic singer.

Again's relatively more streamlined indie rock and reflective sensibility may set it apart from their previous work more than any studio varnish, although it all works together to take a more consistent step forward on their proper label debut.

Recommended for those interested in classical-rock fusions.

Blood Oaths is perhaps the closest to plainclothes Wooden Wand has come.

Smart, inventive, and exciting guitar pop.

Polished and tight in all the right places.

Imperial Teen is clearly evolving into a group of subtler, more nuanced songwriters.

Quality Control hits all of the same highs as Jurassic 5's excellent EP of three years earlier...