This is by no means an embarrassing stroll down memory lane. It can be quite fun, actually, even if it is somewhat baffling.

The high points are so affecting and brief as to provoke small acts of violent ebullience, like the destruction of fragile objects on shelves. But it will never tire. It's another remarkable achievement in magician-MPC interface.

All in all, though Bugg's debut may not share the wordy precociousness of Conor Oberst's formative steps or the political astuteness of Willy Mason on Where the Humans Eat, it's his sheer earnestness and rare gift for writing simple, hook-filled tunes that ultimately charms the listener.

There's little here that suggests Swedish House Mafia is more than the sum of its parts, and as Axwell, Angello, and Ingrosso split into three equally powered powerhouses, it seems this supergroup was more a fun lark than a focused project. Still, it's as fun as larks come.

On these songs Banks fashions more of an identity for himself as a solo artist outside of anything he's done before, and arguably works even harder here to separate himself from his established project. Some of Banks' songs feel unpredictable even after a few listens.

Going into this with no expectations should prove to be beneficial.

While Sugarland's alien rawness is missed occasionally, Sunshine reveals a Talk Normal that is a little more immediate and a lot more assured.

Maybe there's a touch more swagger than solutions on the set, but Minneapolis' secret weapon really should have saved the title of his previous set, Never Better, for this one.

Free Dimensional lives up to its name by serving up lots of sparkling pop with depth as well as heart and brains.

cal Business is an afternoon barfly telling his problems to anyone willing to listen and stump up for a drink, and fortunately for listeners, this drunk has a lyric book that they'll want to spend some time with.

Blak and Blu's production (by Rob Cavallo and Mike Elizondo in collaboration with Clark) is too polished and processed for its own good, but if this album isn't likely to change your life, it will make an hour of it a lot more interesting, and there's no arguing that Gary Clark, Jr. is a talent strong enough to match his record company's hype.

Focus and restraint might not sound exciting in and of themselves, but The Haunted Man is more direct than any of Bat for Lashes' previous work, and manages to keep the air of mystique around Khan that has made her one to watch and listen to since her early days.

While it may be a shade less inspired than The Tao of the Dead, this is a solid, rugged album that underscores ...And You Will Know Us by the Trail of Dead's position as trailblazers and torchbearers when it comes to mixing passion and politics.

Add it all up and subtract the hype, and this one is still potent enough to rise to the top of the pile.

She's constructed something so precise its success seems preordained, but underneath it all, Taylor is still twitchy, which makes Red not just catchy but compelling.

The album is executed so well it can nevertheless suck you in against your will. It's big and bright, shameless in its attempt to win you over, and -- given increased exposure -- that eager-to-please nature winds up ingratiating whether you like it or not.

Even though Long Slow Dance sounds one coat of studio gloss away from a Mitch Easter production, the strength of the songs and performance mean the band is still working as well as ever, maybe even better, and Long Slow Dance stands as their most satisfying album to date.

Union is a pleasant listen, but never quite reaches the anthemic heights the band is trying for.

It might be nice to hear them amp it up a bit on their next record for a change of pace, but this works just fine as a bummed-out garage trip.

Mirror Gazer is a promising debut, especially when Onuinu keeps at least one foot on pop's terra firma.

Fans of their previous adrenaline-fueled sound may feel slightly cheated, but in such a crowded market, Maybe Today, Maybe Tomorrow is perhaps the kind of record they needed to survive.

Cruel Summer is a mistitled fireworks show from Kanye West and his G.O.O.D. Music label/roster/empire, one that comes off as mixtape-minded follow-up to his flossy Jay-Z team-up Watch the Throne.

It doesn't quite hit the consistent heights of Stoosh or Post Orgasmic Chill, but Black Traffic more than justifies Skunk Anansie's re-existence.

Tragicomedies itself is, unquestionably, garish (not to mention inventive, befuddling, and delightful) enough to fully deserve anyone's love.

It's an amazing, cool, and filling mix, and with Homeboy himself being that right mix of persuasive and challenging, First of a Living Breed is an easy recommendation for any lyric-loving hip-hop head.

Ultimately, Where Do You Start is an intimate, impressionistic, and probing release that should certainly appeal to longtime fans of Mehldau's nuanced jazz style.

The whole program bounces back and forth in this way, sometimes impressing with complex and compelling beats and textures, then disappointing with relentless repetition of uninspired ideas.

Oh No I Love You feels softer but it also is more adventurous and satisfying, the sound of a pop obsessive finally letting himself indulge in the weirder areas of his imagination.