2011's Ninth was the leanest and most immediate collection of new material from Peter Murphy to arrive since the late '90s, and Lion, his tenth long-player, while a much different animal (pun intended) sonically, goes for the jugular in a similar fashion.

For all its sonic "ambition," Phosphorescent Harvest is a mess. It's a collection of songs without a unifying center.

The entire album sparkles with this same brilliant pacing and the group's thoughtful trek between detached analog electronics and passionate acoustic instrumentation.

Weird, wonderful, and otherworldly stuff, as if Lil B. Lil Kim, Beenie Man, Beyonce, and Dr. Frank-N-Furter were spliced together with all their collective sass preserved, then piled high.

While(1<2) is a very good, very restrained, and very inspired Deadmau5 effort.

Last Dance is a necessary addendum to Jasmine; it fleshes out the confident, mature, amiable, and eloquent speech in the canonical language these two jazz masters share.

Grey remains a subtle songwriter, but these songs are direct and often slyly hooky, which means Mutineers makes a striking initial impact then seeps in deeply.

On Band of Brothers, Nelson reminds us that no matter the iconic place he occupies in American popular music as a vocal stylist, he is a classic country singer and songwriter first.

Her performances evoke all the anger and passion of the alt-punk heroes that inform White Lung's sound, but surpass many of them when it comes to control or the incredible clarity in her spitting, snarling delivery.

The overall effect is a band that's dug in their heels in the studio and is going to make the most of the way the individual voices bounce off one another, and if they're shooting for something less challenging on Favorite Waitress, the feel of the music clearly seems to suit them.

Far from sounding as if they're grasping at straws, Linkin Park seem rejuvenated, proving there is value in the cliché of returning to roots.

When the scale tips too heavily toward rhythm--as it does on "Booty" and "I Luh Ya Papi"--the productions don't do Lopez many favors, burying her in their thrum.

There's an open-minded exploratory edge to everything here, as if Black Prairie were delighted to discover that genres are really just in the mind of the beholder.

This album's depth and excellence--only the tedious "Like That" falls short--suggest that Deykers should consider going all analog all the time.

Even when the tracks sound more sketch-like, not fully formed--2013 single "Airglow Fires" is a trifle by Cutler's standard--the sheer moods are appealing.

While this might mean that Jaded & Faded lacks the reckless energy of its precursor, it's ultimately a more adventurous and interesting album because of it, proving that Cerebral Ballzy are more than just a group of guys with a keen interest in hardcore.

Lower stand out for their unique blend of cathartic explosions and restraint, creating something remarkably powerful in their use of dynamics and tense pacing.

Tthe songs on Noise all fit nicely and naturally into a well-considered larger statement, making it one of Boris' most captivating and all-encompassing efforts in their abundant and colorful oeuvre.

The album's focus on horn arrangements and roomy, dreamlike production gives it a singular feel, one where listening through the entire album feels not unlike wading through a field of tall reeds as an inexplicably sad autumn day fades into twilight.

Equally critical and affectionate and entirely fascinating, it's some of Daniel's most personal music.

Ultraviolence thrives for the most part in its density, meant clearly to be absorbed as an entire experience, with even its weaker pieces contributing to a mood that's consumptive, sexy, and as eerie as big-budget pop music gets.

Even when he's screaming laughably about demon lovers and being swallowed into the bottomless pit of despair, Cowgill seems to have a meticulous eye on his songwriting skills first and foremost, keeping Fear more interesting than heavy-handed.

Fans of complex, smart pop will be attracted to Williams' attention to detail, but the songwriting itself is also deeply melodic and more lyrically and emotionally honest than before.

As inspired, awful, and awesome as their debut, the only bummer about Donker Mag is that H.P. Lovecraft, H.R. Geiger, and H.R. Pufnstuf didn't live long enough to hear it.

The final result, Don't Wait Up, appeared in June 2014, and was a fitting final salvo from the band, loaded with tough tunes and powerful messages that pack an additional emotional punch as the band rides into the sunset.

By the end, listeners will feel like they've been laying out in the sun all day, warm in the glow of the Donkeys' heartfelt love for all things Cali, complete with the sound of washing waves and seagull cries.

The album is refreshingly spare, especially in light of the lofty production work Schlarb got into previously. However, as nice as these low-key guitar wanderings are initially, the longer pieces drag on into aimlessness and never really reach for any resolution or greater narrative.

Bright Side of Down should resonate with Gorka's fans and those of modern American folk music.