With DNA, a revitalized Backstreet Boys exude an assured confidence, taking enough steps forward to continue their pop maturation without ignoring the hooks and harmonies that carried them all this way.

There's not much in the way of lyrics following the opening track, but she highlights her ethereal voice as an instrument on the harmonic study "Late Night Healing Choir." Taken together, Nighttime Birds and Morning Stars almost functions as a tone poem and is nearly as beautiful and elegant as its thematic inspirations.

Far from reclusive, Weird is a gregarious, idiosyncratic pop album that invites the listener to meet it on its own terms, but Hatfield is absolutely fine if it's rejected. She's cool being on her own.

The music on Smells Funny explores both margins and interiors; this band keeps reaching for an as-yet-unknown sonic terrain where the genres they engage no longer matter as separate entities.

The label-defiant marvel again switches up her supporting co-producers and cooks up another half-hour of authoritative progressive pop.

With Condon's warm quaver and bevy of brass instruments, acoustic and electric guitars, electronic and acoustic drums, accordion, and mix of pianos, organs, and synthesizers including modular synths gathered under a production ethos that dials up already colorful arrangements to Technicolor spectacle.

Well worth the wait, Drift Code is the sound of an artist coming into his own on his own time.

With a handful of impressive releases already under their belt, Tiny Ruins have outdone themselves here, with a full set of compellingly crafted songs that are enriched rather than overwhelmed by the fuller sound.

Despite a couple of duds, the gloomy groove of the album is musically vivid and lyrically vulnerable. Taking cues from some of his era of rap's most boundary-pushing figures, Boogie's debut sets the scene for even greater things to come.

Sunshine Rock is the fourth installment in one of the most satisfying chapters of Bob Mould's career--no small statement considering his legacy--and the tender ferocity of these songs is something no one else could do quite this well.

On this very nice debut, Spielbergs are a tough band to pigeonhole, boasting quality writing and a hooky approach that transcends whatever sonic space they occupy at a given moment.

Plenty of roots-oriented acts can do the high and lonesome thing, but Mandolin Orange make it cut like bourbon and soothe like honey on Tides of a Teardrop, and it's outstanding work from a group that grow more satisfying and accomplished with each release.

One is never quite sure what direction Lawrie is going to head; all that's a given is that it's always a direction worth following, and Exploding Head Syndrome holds true to that theory.

Here Chapman obviously revels in his continued ability to mine the emotional, psychological, and spiritual terrain he did in his younger years as a songwriter, while adding experiential depth to his approach through a lifetime of profound musical development. In an enormous catalog, True North stands straight-up alongside his finest recordings.

With its lavish arrangement and Williams' gritty performance, the band find new ways of celebrating one of the great underappreciated artists of the '60s and '70s--something that's true of Bobbie Gentry's the Delta Sweete Revisited as a whole.

King's voice remains assured and soft, like she's confidently revealing secrets in the most expressive way possible, without disturbing her neighbors. This time, there's a little more grit and swagger, and frequently there's a sense of resolve that comes through even when not indicated lyrically.

Staples sounds more energized and in control here than on the 2008 set.

Sometimes, Vol. 4 :: Slaves of Fear feels almost too successful at what it sets out to do, but as bleak as it gets, there's something special about its empathy and honesty.

Like their debut, Ideal Woman is challenging and sometimes difficult, but fearsome in the way that quality rock music often is.

As far as anthologies go, Twenty sticks to a pretty standard format, offering a chronological track list that features the expected highlights from each of their seven studio albums, along with a pair of new songs tacked on at the end for good measure and added freshness.

Affecting, cathartic and unsettling, Girl with Basket of Fruit reflects that while the edge to Xiu Xiu's music has changed with time, it never dulls.

While Unloved's pastiche of ultra-hip influences could easily be too mannered, the emotional honesty of songs like the haunting finale "If" makes Heartbreak a near-perfect union of style and substance from a group growing by leaps and bounds.

A serene, thought-provoking album that grows richer with each listen.

It's an act they've being pulling off for a long time and it still doesn't sound at all tired. It helps that Murphy wrote a fine bunch of songs, from the rambunctious ("tonite") to the poignant ("oh baby") to tracks that rage like Gang of Four at their best ("emotional haircut").

It might not quite measure up to the very tall order of being another Dare or Different Class, but the record comes close and that is something the band should be very proud of.

A joyous re-creation of what they've always done best, while the performances are crisp and energized, as taut and passionate as ever. And Ed Stasium's production is smooth but natural, flattering these musicians without intruding on the natural punch of their music.

Guided by Voices have been enjoying an unexpected but very welcome late-career renaissance, and anyone who has ever had a taste for their singular take on rocking pop owes it to themselves to check out Zeppelin Over China.

A welcome return, Ladytron is a remarkably consistent and engaging album that befits the band's status as synth pop veterans.