While Parrish just about eliminates himself from the equation, this mix will appeal the most to fans of his work who know the funk, disco, and house stuff well enough but haven't traced back far enough to fully absorb an earlier, eternally vibrant form.

Pain Is Beauty isn't quite as cohesive as Wolfe's earlier albums. Regardless, it's exciting to hear her try so many new things and do them so well.

As inspirational as Bikini Kill's life-affirming blasts of punk could be, they were never as accessible and simply fun as the '80s synth pop modes of Run Fast, which somehow manage to be equal parts poetic, provocative, moving and enjoyable.

Love in the Future is among Legend's best work, made for couples who are into one another for the long term while feeling a little daring and crazy.

Sheff's willingness to strike a balance between his roots rock past and his personal past should please longtime fans and newbies alike, even if they spend the majority of the ride wondering why the tour bus never actually stops at the Silver Gymnasium.

Cuts like "The City," "Chocolate," and "Sex" drive and climb like the best anthemic '80s stadium rock, roiling a host of influences into a single distinct sound that, the moment it hits your ears, becomes timeless.

Not so much a grower as a slow-burning future classic, Forever points to even more exciting things from Holograms as they continue to challenge themselves and expand their vision.

Ultimately, while it's the hum of Allan's inner demons that drives most of the album, there's no white noise on Later...When the TV Turns to Static.

Hesitation Marks makes it quite clear that Trent Reznor is no longer an angry young man but rather a restless, inventive artist who is at peace with himself, and the result is a record that provides real, lasting nourishment.

Though the party is dialed back and more restrained than on previous efforts, it's no less wild and maybe even more enjoyable as a result.

Case has proven time and again that she has the songwriting chops to match her earthy, superlative voice, but never with such authority.

Late for Nothing finds the band not missing a step despite losing an integral member, as LaPlante ably fills the rather formidable vacancy left by Cameron.

The results sound more natural than risky and the entire album finds a nice place between the direct and the obtuse.

Between the Day-Glo commercial sounds, the glassy house and disco tracks, and Melidis' penchant for completely disjointed found sounds, Years Not Living becomes a subtle but distinct collage, and a catalog of grooves in a constant state of pleasant disruption by his collection of otherworldly noises and samples.

By the album's second half, Avenged Sevenfold can't help but let loose their guitar shredding theatrics a bit, and their personality starts to shine through as the tempo quickens and tracks take flight to unabashed height

Maintaining momentum with ruggedly catchy pop tunes sticking out among the more spaced-out garage psych explorations, Ages takes its place in the storied Flying Nun lineage without sounding solely like a replica of previous chapters.

It's that depth of detail, combined with the masterful sequencing, that makes Higher! such a superb box set: it tells a familiar story in a fresh fashion.

This is a finely realized album, with a wonderful, you-can-hear-a-pin-drop sound to it, and Fulks' songs are some of the best he's written, showing once again that he has no intention of being anybody's fool.

Era is another solid album; with the laser-like focus Disappears have, it's hard to imagine them delivering anything less.

At its core, Krule is showing all sides of his U.K. environment, and the multiple genres laced into the sparse backdrop are held together by an overlying somber grey fog. Peel that back and you have one of the most vital debuts of the year.

Even when AATM feels like it is coming straight out of left field, it is highly entertaining.

Caligula club music and nothing but, Stay Trippy is a pimp party of the highest order.

Fifteen cuts means this one is fat with an "f" and a bit too cumbersome to convert on first listen, but the sophomore slump this is not, meaning anyone who devoured Sean's debut should re-up with this one.

Warm Blanket is a tiny masterpiece of unassuming modern pop that you'll overlook at your own risk.

For fans, this is more than a curiosity, it's an indispensable addition to the catalog.

Right Thoughts Right Words Right Action is a welcome return, fusing a crowd-pleasing sound with some of Franz Ferdinand's most interesting songwriting. Track for track, it may very well be the group's most satisfying album yet.

Taken together, they're still a bit of a mess but the joy in The Third Eye Centre is that it presents Belle & Sebastian at their most human and ungainly.

While he still peppers his rock anthems with flourishes from an adept jazz-informed horn section, Electric Slave is his most primitive album to date.