As Lifeguard's first major salvo, Crowd Can Talk/Dressed in Trenches is a superb statement of purpose and demonstration of strength, and anyone who still believes in the possibilities of the electric guitar needs it in their life.

Heard as a whole, this set doesn't sound nostalgic but revelatory, for the simple fact that its slow, deliberately restrained brutality is not only engaging, but hypnotic, doom-laden, serpentine, even beautiful.

Another solid and easy to recommend effort in a discography that already has a couple.

Despite this somewhat disjointed feel, Situation Comedy should still please most of his fans, whether or not they've kept up with his busy release schedule.

While not quite holding the warmth or approachability of other "unearthed" recordings of its ilk, this compilation is essential listening for anyone who's ever been fascinated with Nick Drake's impenetrable, gorgeous sadness.

Peggy Sue may always be a little too quirky to reap the mainstream success of some of their contemporaries, but their versatility is a strength they can bank on in the long run.

With its emphasis on exploring atmosphere over the artful, structured pop of his prior releases, Blood Moon stands alone in Craft's discography to date. Recommended for late-night introspection whether under shelter or, even better, lying out under the stars.

Guesswork is the sound of Lloyd Cole older but not as wise as he would wish, yet with his typically strong melodic game sounding crisp and pleasing in new electronic dress, it's his way of trying to have it both ways and succeeding.

The record isn't a failure by any stretch; there is enough going on to make it at least worth a listen or two if you love the sound of 1990s American indie rock as much as Wye Oak do.

Even if it's not as striking or emotionally resonant as Duntisbourne Abbots Soulmate Devastation Technique, it's certainly an engaging, welcome return.

It's hard to fault the album overall; even though there's a trend for magpie-esque records, Sex & Food still has an instantly identifiable sound. It may not reach the peaks of the previous album but it's stuffed with ideas, and proves that Nielson's consistently shifting tone finds creative strength where others might stretch themselves too thin.

Although the album lacks the emotional punch of Ware's preceding dancefloor-oriented albums, it's always entertaining, full of stunning vocal performances.

Though the album delivers a jammy, two-minute instrumental in "Rhododendron," the track ultimately lands more like an interlude than an outlier, and Forever Turned Around very much plays out like a world-wearier continuation of Light Upon the Lake. Sometimes no big surprises is a welcome result.

They fit into the indie rock genre about as loosely as Bad Brains fit the hardcore punk stereotype or Living Colour fit in the hair metal mold. Who cares? Pigeonholing is futile, the music is boundless.

The depth of the songs passes by unnoticed for the first several spins, but a world of strange detours and unexpected emotions is right below the surface.

Afraid of Ghosts isn't as immediate as some of his other records, but it will suit the needs of anybody craving a record that sounds like Ryan Adams used to make them back in the day.

It's a winningly low-key record, where the atmosphere matters more than the songs, yet Richards doesn't neglect writing tunes this time around.

Oberst remains an eccentric--he's not one for obvious hooks, or even insistent melodies--but of all his albums, Upside-Down Mountain feels open-hearted, measured, and bright, the kind of record that opens up a new chapter in a career and possibly wins over new listeners.

4everevolution is an appropriately titled, subtle progression which proves that intelligent hip-hop and accessible urban pop don't have to be mutually exclusive, and in the process, Roots Manuva has produced his best record since his 2001 breakthrough, Run Come Save Me.

Thanks to the rich and nuanced production and Drake's thoughtful, playful, and intense lyrics, Thank Me Later is a radio-friendly, chart-topping collection of singles but also a serious examination of Drake's life that holds up as an album.

Yeah, it's that stoney and weird, but it's also really, really good. Potentially their most accomplished work.

Mind Bokeh is a masterful, thoughtful album, and even if it's not quite the dazzling leap Bibio made before, its subtler gifts are just as rewarding.

On the whole, Absolute Loser is dominated by an energetic wistfulness and sweet melodicism that characterize most of Johnson's work, whatever his instrument palette. While that should please fans, the solidly crafted song set also offers as good an entry point as any for potential admirers.

While this is easily Horseback's most "laid-back" effort, it's also the one with the most going on musically. It's impossible to pin it all down; simply surrender, let it have its way. You won't regret it.

EXPO can be like trying to hear through phantom barriers, but attentive listening is rewarded, and the project succeeds in reflecting a very contemporary fractured reality.

With great audio and visuals, this version of Voltaic should please all but the most completist Bjork fans.

The album ends up being more sprawling than it initially seems, but no less triumphant.

When the Devil's Loose might share some reference points with another singer/songwriter with a similar offhand affection for roots music, but A.A. Bondy seems to be developing a voice of his own despite all the surface similarities, and the result is a quietly powerful album of songs that cut deeper into the heart and soul than you might expect at first glance.