While The Feeling's playfulness is missed, on Television Man Naomi Punk are a more singular, more insular act, and their cerebral approach to visceral sounds is still fascinating, if perhaps a shade less novel than before.

Crafted with artist Chris Shen, the album is a spatial wonder, reflecting the outdoor nature of its title with a soundfield that sounds like the great outdoors.

Creed's commitment to Chrome's vision is as strong as ever, and the results will put a demented grin on the face of longtime fans.

It's uncompromising yet masterful, an auspicious and perhaps even magical first offering.

They've constructed a vivid and often mysterious beast of an album with snippets of commentary and perspective hidden within, highly enjoyable either taken at face value or dug into deeper.

Lacking any of the imagination of previous albums, The World We Left Behind feels brilliantly disappointing, almost to the point of undoing the good work that came before rather than just standing on its own as a weak album.

Long in the Tooth features ten new Shaver songs, and if his voice by now (the album was released in his 75th year) has worn to a deep, rough rasp, the songs are as strong and as vital and world-weary wise as ever.

From years six through ten, Hyperdub has remained as reliable and forward-thinking as it was during its first five years.

This is the satisfying return album fans have waited for, no more, and certainly no less.

Lucero are musicians and showmen at the same time, and Live from Atlanta captures both sides beautifully. If you're any kind of fan, this is essential.

Get Hurt shows that so long as they're passionate about their music, it doesn't matter where the band are getting their inspiration from, because genuinely caring about something is always compelling.

FKA Twigs' music was already so fully realized that LP 1 can't really be called Barnett coming into her own; rather, her music has been tended to since the "Water Me" days, and now it's flourishing.

Bassett and his fellow knuckle-dragging stargazers are having far too much fun to care about anyone else's perception.

Country funk, no matter how one defines it, might not be a real musical style per se, but as presented here, and in the first volume of this series, it emerges as a reminder that no musical style stands in isolation.

Through several clumsier moments, it's evident Robinson's still getting the hang of making music that translates outside clubs and festivals. Going by what he has accomplished and what he aimed to achieve here, his development should be fascinating.

A promising debut with a few flashes of brilliance, Lacuna is an appealingly summery set of songs despite a few lulls in its energy.

That I'm Not Bossy, I'm the Boss continues a string of strong, entirely enjoyable releases is a bonus for Sinéad's audience, but as evidenced by liner notes that proclaim "this album is dedicated to me," she's still doing it for no one but herself.

All of it fits together surprisingly well here--a satisfying, if imperfect, sampling.

The album isn't going to send chills down spines or invoke great gusts of adulation, but a couple listens will be enough to firmly establish Melted Toys as a go-to relaxation and/or meditation aid for the discerning indie pop maven.

Taken as the debut album from an entirely new band, which it should be, Wovenwar shows great promise, even if it all feels a bit familiar.

In the end, it's clear that the Arkells want to be a big band and they've put themselves out there in a big way with High Noon.

Time Is Over One Day Old is a subtle and moody work that somehow manages to keep moving forward with a mechanical precision, giving one the otherworldly, but not at all unpleasant, feeling of standing still on a moving walkway.

Ultimately, while Lewis himself remains an enigma, the music on L'Amour offers us a fascinating glimpse of a long-forgotten Canadian pop auteur.

It's this kind of focus on the ennui, the mundane tragedy that permeates many people's daily lives, that works as creative fodder for Angus & Julia Stone. Ultimately, it's that ennui, combined with the pair's heartbreaking sense of melody, that makes this album a delightfully sad yet engaging listen.

Having the songs preserved on record undercuts that intention slightly but this is still an odd, delightful collection of tunes and it's nice that non-musicians--and listeners with an aversion to homemade YouTube renditions--get to hear these now too.

End Times Undone is a fine addition to a long career of near brilliant indie rock.

Sand+Silence shows Howard and Crisp are committed to keeping this band alive, and the album confirms they're still an uncommonly smart and talented indie pop band with a great deal to offer.

At this stage, Body Count haven't changed much, and really aren't likely to, which means that if you were on board with their earlier work, then Manslaughter has even more rap-influenced metal to fuel your rage. However, if you weren't sold on these guys in the first place, this album isn't likely to change your mind.