Austra opts for a more balanced and poised version of the sound they set forth on Feel It Break; even though that album's rough edges and raw nerves were a large part of what made it so potent, Olympia feels like the beginning of a more sustainable, and versatile, direction for the band.

All Things Will Unwind finds this musical auteur at the top of her game, maturing, pushing her already broad boundaries, and brimming with imagination.

As bleak a listen as it is, Enderness is an affecting piece of art reflective of its time, and the fact that Bondy's house burned down the day after he finished recording it almost feels like some inevitable if unfortunate occurrence.

The nuanced musical and sonic sophistication on display here is an extension of the songwriter's signature sound, which has perhaps become more accessible. That said, these changes mark development, not compromise.

This doesn't make for an album that holds together thematically the way other latter-day Neil albums do, but its mess is endearing.

If Everything Under the Sun often seems a bit candy coated, it's a high grade of confectionary that they serve, and most folks who get a taste of this album are likely to come back for more.

It's a powerful and often unpredictable set that reminds us that even though it's been a while since his last album, LL Cool J's track record has far more hits than misses.

It's a consolidation of Mould's considerable strengths, an album that showcases his gifts as a writer and record-maker, one that touches upon almost every phase of his career, yet it's filtered through a maturity that feels vital because of its unadorned honesty.

On the quietly electrifying No Earthly Man, Roberts takes on eight classic murder ballads from the British Isles with dizzying results.

Most of the successive leaks and singles continued the trend, and King of Hearts, in turn, is clearly the singer's best album yet.

Even if they're slow to arrive, GZA's full-lengths rarely disappoint. Pro Tools is no different, but with so many divergent projects and experiments from the Clan filling the five previous years, this throwback also proves the crew's original formula still works splendidly.

The whole sternly focused thing is laced with enough emphasis on sound design to function as an immersive headphone listen, while at least two-thirds of it can drain one's energy on a dancefloor.

At first, it's tempting to want all of The Hawk Is Howling to be as obviously powerful as its biggest tracks, but with time it reveals itself as one of Mogwai's most masterful blends of delicacy and strength.

Anyone expecting the sharp, high-lonesome sound of "How Mountain Girls Can Love" and "Roll in My Sweet Baby's Arms" may be disappointed at the sound of the septuagenarian's old bones croaking together, but anyone who can appreciate the stark purity of honest American folk music will hold this album close to their hearts.

One of Lisa Germano's most accessible works yet.

Though Snoop Dogg never slipped from the charts, Paid Tha Cost to Be Da Bo$$ smacks of a comeback, and it's a great one.

Both technical enough for scholastic jazz ears and organic enough for acoustic traditionalists.

At times, John Barry conducting the Buzzcocks; at others, EMF covering Petula Clark.

An engaging and passionate collection of songs from a man who has never failed to sing directly from his heart.

Romantica charges out of the gate with a new vigor, brightness, and sensitivity that, in retrospect, hasn't really come together within one package for them since maybe Bewitched.

With You're the One, Paul Simon is back on track, writing and recording timeless music that keeps him on par with Neil Young and David Bowie, but in his comforting familiar way.

Fans of Chesnutt, Elf Power, or smart and adventurous pop music in general should put this one on their shopping lists.

f this album is slightly less thrilling than Mourn, it's also more consistent, reflecting the mix of discovery and growth most people experience as they leave their teens. On Ha, Ha, He., Mourn do a little of the former, and a lot of the latter.

Ambitions is somewhat of a slow burner, but it's more cohesive and focused than meandering. Thomas has a masterful way of following his muse, and the album maintains a sense of spontaneity, as well as a casual demeanor, without sacrificing high standards of craft.

A bit less club-ready than Livanskiy's other releases, Liminal Soul is a stirring set of late-night reflections.

No One Can Ever Know reaffirms that the Twilight Sad are unafraid of challenging themselves or their listeners, and for better or worse, there's something admirable about that uncompromising attitude.

Before the Dawn Heals Us is ambitious for sure, an emphatic step forward from the linger of Dead Cities.

Stylistically speaking, the 11-track set doesn't deviate much from the formula the band established on its prior outings, but it will no doubt please longtime fans just looking for something new to pump their fists to.