Given how fickle Bemis perceives some of his fans, changing up the formula so drastically is a bold move on his part, but it's one that ultimately pays off, making the album a creative high point capable of spawning enough critical debate to fuel a lifetime of Say Anything albums.

There's a take-it-or-leave-it quality to Await Barbarians' open-ended, unvarnished songs, but more often than not, Taylor draws his audience into the album's world in a way that feels like a visit with an old friend.

Cook's second full-length, 2014's Twice, follows in the same path as her debut, featuring nine tracks dominated by Cook's smooth, slyly sexy voice and arrangements that keep the grooves light but dance-friendly at once.

As it is a Chrissie Hynde project, it is a little inconsistent, sometimes sagging on ballads or dragging its feet at mid-tempos, but there are several strong additions to her canon and the overall feel is appealing and, thanks to her unexpected collaborator, fresher than expected.

International announces Lust for Youth as one of the finest acts giving synth pop new life in the 2010s.

With a genuine sense of melancholy that is far beyond their young years, the Söderbergs have taken the mild success of their sophomore record, Lion's Roar, in their stride, and with the expert hand of Bright Eyes' Mike Mogis once again producing, the lush harmonies and melodies of this album show that they are worthy of a place in the mainstream.

It is perfect for lazy summer afternoons, cozy winter nights, or anytime you might want some music that's blissfully peaceful and sweet, but never boring.

Those who continue to stick with the band will find themselves rewarded with another fine addition to an impressive catalog and an example of grown-up psych pop that's both calming and soul-searching, while never being anything less than completely enjoyable.

Even though Vek doesn't find or offer any easy answers on Luck, its highlights capture the most challenging and engaging parts of his work.

What makes it a better, richer work is how it simultaneously holds every side of White, existing at the crossroads where modernity, tradition, hard work, and inspiration all meet.

Things Are Great Here is a lovely collection and another unique release by one of the era's most distinctive artists.

With James' voice and nearly iconic harmonic sensibility as a guide, these genres flow into, rub against, and ultimately redefine one another. His creative reach, at least at this juncture appears to be boundless.

It all makes for a complex, often beautiful debut album that affords Kelly even more expression and possibilities than what he's done before.

Ultimately, with Whispers, Rosenberg has crafted an album of sweet, hummable anthems for tender-hearted troubadours everywhere.

Ultimately, with Love Me, Barfod has crafted an album of highly engaging, emotionally resonant pop music that's as creatively rewarding as it is accessible.

Their voices are strong and clean (maybe too clean) and the parts are played well enough, but when you remove the punk from pop-punk, the attitude goes with it and you'd better be sure that the material underneath is something of greater interest than these largely forgettable acoustic emo ramblings.

Anathema's trademark emotional resonance and musical adventurousness purposefully re-engage earlier electronic forms to make this album a compelling--if controversial--undertaking.

rouble & Love is unlike any other "heartbreak and healing" album; its hard-won, experiential, Buddhist-like wisdom borders on the profound.

Even when the songs sound coherent and have some interesting moments, the jarring beats still come on as incessantly aggressive with no actual power, inspiration, or deeper statement driving the noise.

While there is still a handful of metallic rockers, III is built on a folky, acoustic foundation that gives the music extra depth.... Of the first three reissues, Led Zeppelin III contains the highest quotient of unheard tunes: precisely two, although one of these doesn't quite feel new.

There are certainly some strong tracks here and it will be interesting to see how Mr. Little Jeans develops, but as a whole, Pocketknife is an uneven debut.

Copper Gone is a mix of tried and true plus smarter and new, and it's an excellent reason to check in on Sage's evolution.

It's obvious that Superunknown was consciously styled as a masterwork, and it fulfills every ambition.

While Led Zeppelin II doesn't have the eclecticism of the group's debut, it's arguably more influential. After all, nearly every one of the hundreds of Zeppelin imitators used this record, with its lack of dynamics and its pummeling riffs, as a blueprint.

Although the album isn't as varied as some of their later efforts, it nevertheless marked a significant turning point in the evolution of hard rock and heavy metal.... Zeppelin never felt this nervy again: they harnessed their majesty and knew how to deploy it, but here it still seems like they weren't quite sure of their limits, which is why it's a particularly exciting bonus disc [a concert given at the Olympia in Paris in 1969].

This self-aware mortality is the trump card of Beauty & Ruin, as Mould neither denies his youth nor his age; as he explores his pain, he finds emotional and musical narrative to tie his past to his present and the results are powerful.

Invisible Hour is a beautiful, haunting collection of songs that only Joe Henry could create, and whether you're familiar with his work of not, you're likely to find something that will impress you on this album.

While Early Riser was pieced and patched together, it flows as a gleaming focused set that combines left-field electronics, alternative R&B, and futuristic jazz.