It's beautiful and thoughtful work from musicians who remind us art can be stark and simple and still find ways to charm and move the listener.

They are ruthlessly efficient, unmerciful, redundant, triumphant, and wholly invested in darkness, volume, destruction, and little else.

If there is a heaviness--an emotional weight that seems to be bearing down upon Christian and Anberlin throughout Lowborn--chalk it up to a band nearing the end of an almost 15-year career. However, despite this heaviness, Anberlin have crafted an album of deeply emotive and, one imagines for longtime fans, cathartic songs.

Musically, Charmer is a more polished and pop-oriented album than most of Tigers Jaw's previous work, but the core of their melodic style has changed little, and the moody urgency of the lyrics is as strong as ever.

The album is a lean, mean machine of singalong revolution songs and baggy jeans dance music from folks old enough to be wearing fitted by now, but the hunger to survive and flourish is as palpable as it was on their debut.

La Petite Mort is a quality release and a welcome return for a band that refuses to sit down.

As severe, wild, and dissonant as they can often be, Greys somehow manage not to take themselves so seriously, making If Anything an inviting debut full of character and some ferocious playing.

An equally strange and sexy debut, Zaba's most audacious moments suggest Glass Animals will be an even more compelling act next time around.

Wonders never cease on Mandatory Fun, and neither do the laughs.

They're more infatuated with Neu! and Kraftwerk or Public Image Ltd, but these jagged, difficult sounds are filtered through the trio's now instinctual arena-filling gestures and that tension is what gives Futurology a resonant richness.

There is a widening sense of exploration at work here; the considerable benefit of that aesthetic is clear even when it falls a tad short of the mark.

On Chroma, he's got enough lines in the water that he's bound to get a bite sooner or later.

PS I Love You have crafted an undeniably pop-centric slab of modern noise rock that gives a tip of the hat to manic confectioners of the past like The Pixies, Pavement, Weezer, and Jesus and Mary Chain, and that tour-T-shirt-and-empty-juice-box early- to mid-'90s vibe permeates the majority of the proceeding.

So basically, it's another weird, great White Fence album, only the bass is a little clearer, the drums a bit louder, and there's less tape hiss. Only die-hard four-track fanatics could complain about that.

The second half, where he traces his friendship with J Dilla, involves some brilliant storytelling, and perhaps the only moments during the album's sessions when Common cracked a smile while recording. It's a touching finish to the rapper's best album since Be.

With songs like this, Trouble in Paradise proves Jackson is still better than many of her contemporaries when it comes to making fizzy electro-pop.

Ultimately, it's those romantic details sung with sincerity and a dash of infectious, female-empowered punky 'tude that make All the Ways You Let Me Down work.

Real is a rare metalcore album with enough depth to demand repeat listening, which definitely won't disappoint the band's die-hard fans.

Noisy yet nuanced, Electric Brick Wall delivers some of the high points of Herrema's discography.

It boasts a refreshing and inclusive, old-fashioned '70s style prog-pop vibe.

Everything Infinite is an amazingly focused debut from a couple of guys who have already perfected their sound and give the impression that they could keep doing it for years to come.

Showcasing Cold Beat's versatility as well as its focus, Over Me lets listeners discover more each time they play it--which should be often.

Luluc's attention to detail and careful songcraft are apparent yet the music slides comfortably by, revealing its true depth with repeated listens.

Conversations ends up a fine debut from the band, tightly focused and carefully constructed but still filled with plenty of understated heart.

Complete Surrender shows that Taylor and Watson are willing to stretch out and continue their evolution as they deliver a strong third outing.

There's a shared past that's evident in every moment of this debut, and that natural, relaxed camaraderie is the reason why No Fools, No Fun is such an appealing listen.

This has the potential to serve as a good sampler for those interested in the ethnomusicological side of contemporary chamber music.

Black Market may not be the enraged political album that fans want, but it most definitely feels like the cathartic self-examination Rise Against needed, proving that a move doesn't have to be loud to be bold.