Too Weird to Live, Too Rare to Die! paints an exciting picture of Panic! At the Disco's genre-bending career trajectory to come.

Sleigh Bells' studies in contrasts aren't shocking anymore, but the fact that they sound more natural on Bitter Rivals makes this some of their most enjoyable music since Treats.

Calvi's less adventurous fans may find themselves at a loss as to how to process it all, but there's something both immaculate and broken about One Breath that ultimately transcends its more difficult moments.

While Old often seems like a hip-hop kaleidoscope exploding across the speakers, it's also crafted and paced, split down the middle like a great LP with a sure start and a freeing finish.

Bangerz's take on R&B is most convincing when it's balanced with Cyrus' country and pop roots.

Although this box is not perfect--it's hard not to wish there were no duplications on the first two discs, or the last two--it is nevertheless a mighty testament to the Band at the peak of their powers.

Song for song, The Blow is arguably a more consistent set of songs than Paper Television was, but its aloof wit ultimately makes for slightly smaller pleasures than what came before it.

Lyrically and melodically it plumbs the depths of emotion, making it among the most compelling entries in Jesu's catalog.

As appealing as the lived-in, swampy jams are, there's a laziness that drifts throughout Hoodoo, apparent in the sauntering rhythms and Tony Joe's mush-mouthed vocals.

In the end, Jackson's foray into bluegrass seems easy and natural, as if he'd been playing it all along.

Savages is meant to be taken as both a warning and a rebel yell, and Cavalera and company connect on both levels, offering up an audio invoice for our past transgressions and a shot of adrenaline for the war ahead.

In 2013, it takes a certain level of bravery to make R&B this open-hearted, joyous, and musical. U.K. acts like 4hero, New Sector Movements, and Bugz in the Attic were doing it in the early 2000s, but none of them put it together quite like this, in one concentrated shot, with the songwriting on the same high level as the productions and arrangements. This crew is elite.

This offers another slight change from Willner's past--enough to maintain perked attention from listeners in love with his sound, while those who are less enamored won't hear enough that distinguishes it from any other Field album.

A sort of cosmic, high-def honky tonk that for the most part proves tasty, injecting some much needed brevity into windy frontman Eric Earley's colorful yet often perfunctory tales of sin and redemption.

K2O plays like an extended groove, and while the addition of guest percussionists makes it feel more like a band jam than a bedroom recording, the instrumentation never flares up enough to break the listener from a trance. Instead, the setting-sun artwork sums up the vibe for an album that Price himself elegantly describes as "fuzzy lullabies."

Another solid album.

These are songs that build in slow, flowing layers held together by dusky, swirling keyboard parts and Boldt's low, everyman baritone vocals.

Though the songs here would have fit in with the best of their earlier phases, they manage to inject deeper subtleties and emotional crosscurrents than even their best work from the '90s without getting too soft in the process.

While his imagery-laden, generally safe distillation of American roots rock leans harder on the AOR/soft rock side of the railroad tracks, it's a train that is worth boarding for a stop or two, if only to admire the lovely view.

In its best moments, Fuzz will have listeners forgetting Segall is part of the equation at all, the album's brooding heaviness more immediately moving than any of his distinctive sonic ticks.

Internal Sounds both solidifies and expands on the veteran group’s signature tone, beefing up the punk-infused, psych-rock twang without losing any of the technical mastery and subtle nuances of the playing.

All this record does is break the heart of anyone who fell in love with Yuck because of that album, and that's a real shame.

Deltron veterans will get the most out of this return, as their cherished classic goes from secret to high-profile, all while keeping the legacy intact.

Once it's clear that anything can happen, the lack of a common sound makes each track an exciting new proposition, allowing the listener to feel a sense of discovery despite the fact that they've been listening to Quasi for as long as two decades now.

While it shouldn't be a surprise for a Dr. Dog album to be a beautifully crafted slice of psych-pop goodness, the magic of the band lies in its ability to consistently beguile listeners with a sound that shows all the mark of genuine craftsmanship, something B-Room delivers from start to finish.

Pure Heroine seems to hint at the truth... but the truth is, Lorde is a pop invention as much as LDR and is not nearly as honest about her intentions.

Mark Lanegan's deep, weathered voice is relatively (rightfully) unornamented and dissipates amid soft drones after "Here come the lonely night…can't escape my mind." It helps make Innocents Moby's most powerful work in several years.

A debut album that could pass for a greatest-hits collection, Days Are Gone will provide musical comfort food for some, and possibly an introduction to irony-free pop for others.