While the individual songs may not be as fun on average as those of its predecessor, Lines Redacted does drive home the feeling of dissatisfaction while, like a Ramones under the influence, locking into an admirably irreverent, distinctive persona.

Gossip in the Grain is LaMontagne's most adventurous recording, yet in many ways it's also the most focused and well executed.

On these songs, Lopatin and Hecker take the sounds in their intentionally limited palette to places they may never have been expected to go, and the journey is intriguing and frequently lovely.

This is another fascinating and unfashionable album from a band unwilling to cater to anyone's expectations except their own, and thriving because of it.

Not everything here clicks together at that level, but each track is inventive, and when the songwriting and arrangements cross paths perfectly, as they do in the above songs, this is a delightful band.

With Damogen Furies, the results of his strange ways lead to moments of slack-jawed befuddlement as much as awestruck astonishment.

As a whole, the album plays out a bit unevenly, with some distinctive artistic peaks and a few mis-plays made in the name of experimentation. Still, with the long gaps (six years) between each of their releases, it's hard to fault Autolux for making a worthy stab at reinvention.

Narrow Stairs is far from desperate, however, and the album's willingness to steer Death Cab into unfamiliar territory (or, to reference an earlier lyric, "into the dark"), is by far its strongest asset.

The huge accomplishment of Desperate Ground is this ability to grow up some without slowing down; but quite the opposite, the Thermals return to form with this scrappy collection, blazing through serious topics but never dropping the tempo long enough to get overwrought or self-indulgent.

It doesn't rate with the best of Clem Snide, but Bitter Honey is a pleasant diversion and a nice way to fill the space between the group's releases.

As lyrical a musician as he is, without his commanding use of language (the song cycle is entirely instrumental), the BQE loses some momentum near the end, but by then it's become clear that, as is the case with all of his projects, the term "half-assed" does not apply.

After absorbing the record, however, it's clear that the broken, disconnected flow is by design, and Guardian Alien's experiment with structure pays off with another album of mind-bending headphone candy.

No one but one of the most talented and accomplished singers -- one with 16 Grammys, nothing left to prove, and every desired collaborator at her disposal -- could have made this album.

It isn't easy to strike the right balance between ambition and emotion, scale and humanity; White Whale manage it with ease on WWI.

Velocifero isn't as dramatic a step forward as Ladytron's other albums.

There's warmth in Was' production and honey in McBride's voice and if the combination can sometimes result in too-sweet tea, it's nevertheless soothing.

More or less what fans would expect from a Fred again.. album at this point, Ten Days is a diaristic emotional whirlwind with a handful of highlights.

It's just accomplished enough as an amalgam--not entirely groundbreaking but definitely enjoyable as a collective reworking of impulses, with Wexler and a variety of guest players creating an enjoyable little treasure in its own right.

Despite the part-compilation/part-extras makeup, this is one of the year's more enjoyable debuts.

Themes of struggling to overcome depression and drug dependency surface often on Fighting Demons, making it a heavier collection than the sometimes celebratory memoriam of Legends Never Die. It's not an essential piece of the Juice WRLD story, but it's also not without some solid reminders of his greatness.

In its own way, this album might be Lee and Björklund's most balanced and unified work yet; it's certainly a confident journey into uncharted waters for the duo.

Ultimately, with The Age of Fracture, Cymbals turn disconnection and dystopia into danceable fun.

Peacock's organic, sometimes, limpid production makes damn sure that nothing gets in between them, allowing the listener to have a direct, often powerful experience with both.

While those who miss the band's old orchestral pop sound may cavil, Twist Again represents the opening of a promising new path for Bodies of Water.

For those unfamiliar with Parenthetical Girls, it could be the perfect introduction to their fascinating music.

An album that requires patience and willing immersion despite its relatively short length, it succeeds in transporting if not transforming.

Distant Relatives is this African contradiction explored further with hip-hop, dancehall, and by way of samples, jazz, and African music showing the way. It's a royal and a striking reminder of why these two artists have reached legendary status.

It may be a remarkably summery album, but it has enough charm and depth for year-round listening.