This is a record designed to be listened to in isolation, preferably through a massive pair of high-quality headphones rather than in the mass communal surroundings of a club.

In the increasingly prevalent spirit of similar trans-cultural musical interminglings in recent years, what we get never feels carefully curated, explicated, or tamed but rather refreshingly, bewilderingly alive -- an explosive flurry of rhythms, sounds, and voices.

A chronological ordering gives a sense to the band's progress, a definite perk, but the big payoff with Tape Club is that it offers a chance to see through to the heart of SSLYBY's songs and realize how charming they can be without the big-league production.

Their loosest, wildest, and most honest collection of Saturday night/Sunday morning pining/drinking songs to date.

Much of the aptly named Th1rt3en feels vintage, from the familiar political themes on "We the People" and the tightly wound, Dio-esque riffing on "Public Enemy No. 1" to the soft, melodramatic military snare intro of "Never Dead," which eventually explodes into a wicked blast of retro-thrash that feels positively invigorating, not redundant.

While Best Intentions doesn't reinvent the wheel, listeners will enjoy spending some more time with We Are the In Crowd.

Despite these interesting diversions, Exits & All the Rest is just a bit too straightforward to gain the plaudits of the more experimental Warpaint, but it's still a vibrant record that cleverly recaptures the spirit of their influences while remaining quintessentially Girl in a Coma.

Even if Crazy Clown Time isn't as accessible as some of the collaborations that arrived shortly before the album, Lynch fans will appreciate it as another example of his ability to put his unmistakable stamp on every art form he attempts.

A notion that acts as the foundation for the eight cuts on the hypnotic but illuminating Humor Risk.

Viers' simple, honest delivery helps to keep the mood fun, yet stable and sweet, without the inevitable sugar rush.

The Dreamer is a fitting--if not perfect--bookend to one of American popular music's most iconic lives.

The most notable thing about The Twilight Saga: Breaking Dawn, Pt. 1 is its unabashed romanticism, and the album more than serves its purpose as a Twilight-branded wedding playlist.

Kinsella's tried-and-true delicately delivered cynicism combined with a new approach to instrumentation is refreshing after all these years.

Nickelback's seventh studio album arrives nearly three years after their multi-platinum-selling, 2008 release Dark Horse.

While its parts don't quite come together in a way that rivals IRM, Stage Whisper is a welcome adjunct that celebrates Gainsbourg's skills in the studio and in front of an audience.

The connection between the album's title and its contents remains a question mark, but it's befitting of this surprising, deeply inspired debut.

Perhaps he could stand to have some knockout singles and perhaps he's a little too comfortable giving the people what they want, but Nichols is always reliable, always likable, and this album is definitely all good.

Snow Patrol still have the potential to hit the sweet spot between U2's stadium baiting, Coldplay's icy elegance, and Elbow's art school-infused, north country soul.

The whole of Impossible Spaces holds together as a strong listen, but in many ways it's the individual moments that stand out above all else.

An intriguing sonic experience from start to finish, Severant is a bold left-field first offering from an artist who's quickly establishing himself as the intelligent dance scene's "one to watch."

An even rougher, uglier, and just plain heavier Hull.

Musically and sonically it's well above average, even if there are three generic cuts in the middle that keep it from rising to the next level.

While Geronimo! is sometimes a little too playful for its own good, it's still a refreshingly unpretentious and affectionate display of nostalgic retro-pop.

The self-titled conclusion serves as a gentle, appropriate valediction.

It's his most downtempo effort, and all that much more soothing and captivating.

There aren't quite as many standout tracks this time around, but there are no real low points to speak of, and there's plenty to enjoy, especially from a beat programming standpoint -- or, even more especially, from the center of a crowded, sweat-soaked dancefloor.

Freeclouds has a little more up its sleeve than either a clear break from Tanton's past or a simple extension of it.

Behind Good Girl Gone Bad and Rated R, this is Rihanna's third best album to date. Minus the fluff, it's close to the latter's equal.