Anyone intrigued by the idea of emo-rap at its most introspective will find this a well-crafted and moving effort, while returning Atmosphere fans get the satisfying usual with some extra maturity and growth.

Lollipop might have been an inspiring return to form; as it is, it's flawed but interesting enough to confirm there's still life left in this band, which (with any luck) the Meat Puppets will document in a more satisfying manner next time they record.

In many ways, the album feels like a working holiday for the band; even if it's not as explosive as some of their previous work, it shows that they can age gracefully and try new things at the same time.

It's no turning point in a field populated by dozens of elder space cadets and mood architects, from Massive Attack to Spacek to Sa-Ra. As a flawed first step from a young newcomer, however, it's impressive.

A concept album that doesn't get weighed down by the story line is a rarity, but it is something that Within Temptation succeed at with The Unforgiving.

Starting with a breezy, uptempo song that's part motorik zone, part kicking it on a relaxed afternoon, Harbors finds All Tiny Creatures in engaging mood throughout, letting the music convey most of whatever message Thomas Wincek and his numerous collaborators and bandmates might have.

Backed by a solid country-rock band (including two guitarists who claim co-writing credits on more than half the songs), her new sound is perhaps more indebted to Nashville than the West Coast's folk scene, but it sounds its best in the neutral territory between both camps, neither subscribing to nor rebelling against any single genre.

Watt's music is no less ambitious or brave than it was in his youth, and for all the inner rumblings of Hyphenated-Man, the final product reflects an agile and active mind that's not about to stop confronting anyone with the courage to listen.

A Thousand Heys, is cleaner, easier, and more melody-driven than most releases on, say, In the Red or Dirtnap Records.

Meyrin Fields may be under 12 minutes long, but it's still a musical goodie bag that sounds like it was as much fun to make as it is to hear.

Radio now splits everything into little niches. That isn't what Charles was about. He saw music as convergence. This fine concert album plays in that same spirit.

On the whole, however, the album is a pleasant throwback to earlier styles of pop, country, and jazz.

In all, Jeniferever couldn't be better designed for soundtrack music to a moody sci-fi drama of the 2010s.

Fake History is an album that really cements Letlive's place in the vanguard of the current crop of modern post-hardcore, making for an album that will not only please longtime fans, but could also pique the interest of some of the genre's disenfranchised old guard.

No Help Coming is an improvement over Golightly's previous work with the Brokeoffs, but this music still doesn't capture this gifted artist at her best.

Bass Drum of Death have put together a proto-punk album for the digital age where you could swear you heard the tape hissing out of your blown laptop speakers.

The Snowblink singer has a captivating appeal that is hers alone. And when you combine that with a gift for poetic lyrics full of such evocative phrases as "I'll put a bullhorn to the mouth of your ghost" ("Heckling the Afterglow"), you've got something substantial on your hands.

Meanwhile, David Bottrill's dynamic production (his credits include King Crimson and Dream Theater) is perfectly suited, and only enhances the band's ever-intensifying talents.

A tribute to the late P-Funk guitarist Garry Shider and an appearance from Bootsy's older brother Catfish Collins -- who died before the album saw release -- add poignancy to this rich and funky success.

It's a seemingly disparate list, but it's a testament to the producer's abilities that he can craft songs that fit so well with each voice.

Mazes is all about songwriting growth, lyric melody, more elaborate textures, and accessible riffs. They underscore Moon Duo's heavy stuff and offer something refreshingly different in the process.

It's not an especially coherent album, nor a very revealing one, offering surprisingly little insight into Thao & Mirah's relationship either as musical or romantic partners. But it does sound like they're having fun, and that counts for a good deal.

An uncharacteristically stripped-back, lo-fi production which perfectly suits the unsettling plot line of the Eastern Europe-based thriller.

Mirrorwriting is an encouraging first offering which should neatly fill the spacious, indie R&B gap until the XX's next record comes along, but if it could have sustained the quality of its opening six tracks, it could have been much better.

It's had to imagine how long Ha Ha Tonka can continue to grow on each album, considering how good they've become, but if you're looking for music that's smart, ambitious, literate, and fun at the same time, Death of a Decade could well be your introduction to your new favorite band.

This album should be heard as such in a single sitting, where its labyrinthine beauty can be fully experienced and integrated. This is "acid rock" at its best.

In 2011, the band is still going strong... Several tunes here sound like they could end up on Fairport's next greatest-hits compilation.

Overall Moment Bends is a return to form, if not quite as inspired as Architecture in Helsinki's best moments.