Cyclops Reap may be the best place for newcomers to start, but anyone who's been along for the ride since the beginning will be thrilled to hear Presley's (slight) progression.

Ultimately, the golden age of dream pop and shoegaze lasted roughly ten years, a blink in the eye when it comes to pop music. However, for Swim Deep with Where in the Heaven Are We, it’s almost like it never ended.

Less of a preview of things to come than a few extra songs, Tally All the Things That You Broke still offers enjoyable evidence of what makes Parquet Courts unique and exciting.

It is a seamless blend of Finn's longstanding popcraft and latter-day adventure, and it satisfies on both counts.

Dalle sounds comfortable, confident, and liberated on Diploid Love, and she gives listeners a more complete portrait of her artistry along the way.

Artistically, three is the charm for Big Sean as Dark Sky Paradise is much more expansive than previous efforts, sometimes grinding with executive producer Kanye West's love of the dark, and other times bouncing with the snark, swagger, and style that propelled this Detroit rapper to the top.

While Book of Travelers may be a less-immediate collection than some of his previous work, its contemplative nature is worth investing a significant amount of time in.

It might not quite hit the heights on a consistent level like Writer's Block or have the emotional power of Living Thing, but Darker Days proves that the band are back on the right track.

Andy Partridge, Rivers Cuomo, and Peter Buck & Scott McCaughey all deliver new songs--and it has the same feel, blurring the lines between the past and present so thoroughly that it no longer matters to discover where they're separated. Schlesinger's presence is also a tell that Christmas Party leans into power pop. ... [Micky Dolenz's] having a great time, as is everybody else making the record, and it's hard for the listener at home not to smile too.

Sell Sole II finds DeJ Loaf in full capacity of her powers with an album that's consistent and controlled and doesn't relax for a second. While more songs default to her specific brand of pressurized beats and melodic hooks than brash, energetic anthems, DeJ's aloof confidence comes through even in the album's quietest moments.

Sonically adventurous and rich with experimentation, Petrichor offers plenty to admire, even if the songwriting sometimes takes a backseat to the production.

The result exists in a middle ground between the band's artful indie rock and a contemporary classical suite. If you like Dirty Projectors, chances are you'll enjoy Song of the Earth, but this music lacks the immediacy and insistent pulse of the band's best work.

Sadly, this time out, the band have put aside the wonderfully corny synthesizers they used on the last record in favor of a 100-percent organic approach that fits their bearded poets of the mountain image.

Fall Out Boy have taken great efforts to incorporate whatever was happening on the charts, an inclination that isn't quite as necessary in the great digital disassociation of the 2010s, yet this inclination does give American Beauty/American Psycho a bit of a kinetic kick. It also gives it a slight air of desperation.

While the fury he displayed on Total Decay is sometimes missed, by the time "sdnE tI" brings the album full circle (or is that full zero?), it reveals Zeros as some of the Soft Moon's most fully realized and satisfying music.

Archie Bronson Outfit might be testing their limits by taking so many stylistic risks on Coconut, but it all works surprisingly well for them; they never sound like they are pushing for the mainstream or losing their sense of individuality.

In sum, Attention Please, with Wata's haunting vocals at the fore, is the most unusual and easily approachable recording on Boris' shelf, if not its best.

The result is Georgia's most accessible album to date, although it does feel like some of the unique qualities of her earlier releases have been compromised.

Even if he doesn't quite have the vocal presence to fully inhabit this stage, his taste and melodic skills are suited for this bigger scale so My Old, Familiar Friend winds up as an effective showcase for his craftsmanship even if it never quite grabs ahold the way "Lapalco" did.

It'll doubtless put some smiles on some faces as it goes, but it neither reaches for more nor tries to be anything less. Perhaps it is enough, but does it have to be?

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.

The album just offers up a heaping pile of midtempo heaviness that harkens back to Metallica's middle years.

Hard Working Americans picked 11 cover tunes which deal with the hard truths of life among the working class, some recent compositions, and other, older songs that have remained relevant with the passage of time.

The cheekily-named Greatest Hits, Vol.1 is both a refreshing blast from the past and an ardent kick in the teeth.

Collingwood does a good job here of separating Look Park from his work with Adam Schlesinger in a way that will likely bring along a lot of existing fans, and with material strong enough to make it hard to pick standouts.

Detroit Stories is stuck in a confusing limbo somewhere between tribute to Detroit and another album of the kind of campy, theatrical, radio-geared hard rock Cooper has been turning in since Hey Stoopid. Never quite committing to either concept, Detroit Stories ends up feeling like a handful of solid covers of classic Detroit tunes with some Alice Cooper extras thrown in at random.

Conceptual conceits aside, these are some of the most memorable and rousing songs Corgan has delivered since 1993's Siamese Dream.

As good as the by-the-books ballads and rocking country are, the moments when the façade slips a bit make this worth hearing as an album and not a collection of singles.