Even if there's nothing inherently new about the band's take on rock, and at times they seem too comfortable coasting on trends from the mid-2000s, Delta Spirit manage to convey a likeable sound that is strong and intimate at the same time.

The more beneficial mix of songwriting and production collaborators, including Jack Splash, No ID, Rico Love, and Salaam Remi, helps make The MF Life superior to the debut in every way.

There are some missteps and some rookie mistakes here, but ultimately, the collaged beats and convergences of found sounds stumble onto brilliance more often than they fall to the wayside.

Even in their best moments, every move feels overly calculated and wraps up so nicely that even what are intended as unpredictable turns are pretty predictable.

Recruiting a variety of guests and fellow travelers, including Eyvind Kang and Crys Cole, Oren Ambarchi continues in his vein of excellent solo releases on Touch with 2012's An Audience of One.

By reining in the freedom that made Clovis People, Vol. 3 such a puzzling wonder, Taylor manages to up the ante musically and lyrically on Contraband.

In Ghostlike Fading is a low-key debut, full of mellow, worn-in songs replete with extended jams, guitar maelstroms, and harmonicas.

While this would be a step backward for anyone else, the band has a talent for effortlessly making the unpolished seem charming as it bashes its way through tracks like "Nostalgia" and "The Worst Has Yet to Come."

[Goatwhore delivers] another album of relentless and refined blackened death metal that speaks volumes about the band's level of craftsmanship.

Ultimately The Promise doesn't point toward the future, but it does deliver fulfillment abundantly, from the place things really are, showcasing a confident, relevant, singer and songwriter.

It's a pretty timeless approach that could have ended up sounding tired and played out, but the group's enthusiasm and Cunningham's ability to craft sticky melodies make it sound oven fresh.

Between the exquisite wordplay and dusky melodies, there's plenty to return to in these tunes.

While the two don't always match up exactly in terms of presentation, by the end, Byrne's nerdy rock and Veloso's airy sonnets prove highly complementary to each other, especially in tandem.

As a starting point for One Direction fan memorabilia, for which it appears there is limitless potential for the time being, this is a perfectly sized, and targeted, collection.

Ultimately, Mia Pharaoh is so full of catchy, disco-on-the-cheap numbers that it sometimes sounds a bit like a vintage Eurovision Contest compilation--and that should be taken as a huge compliment.

Not only are the songs so perfectly patched that it's hard to tell they were ever fractured, but in the age of Pro-Tools editing, they seem like relatively standard pop songs.

The album is a blissful, laser-toned experience where Poxleitner's sweet voice is expertly wrapped in stylish, multicolored hues of fluorescent keyboard squelch and bass guitar shimmer.

While their detachment makes the Chap a unique group and perhaps something of an acquired taste, We Are Nobody delivers some of their finest songs yet.

At 17 tracks it borders on overkill, but that's fitting for Gaga, who has made excessiveness her raison d'être, and some of the included remixes are quite good.

Though there are a few missteps ... the document's strengths supersede them in a powerful and inviting way.

The Static Jacks retain much of the energy of punk, and a bit of the attitude, but their sound has a more polished pop tone to it.

These catchy, desperate, searing, and searching songs aren't always the most accessible, but they show exactly why this band has such a dedicated audience.

Every Time I Die are moving in some promising new directions.

The trio has crafted a record that measures up to My Beautiful Dark Twisted Fantasy musically and delivers enough emotional charge to power a small town for a month.

Ultimately, Strange Land is a bold and successful leap into new and previously unexplored territory for Yellow Ostrich.

Sugar does little to contradict the argument that the Sunshine Factory are nothing more than a My Bloody Valentine tribute act, but it's an act they undeniably do very well.

Come Back as Rain may be the perfect summer soundtrack for listeners looking for a less cerebral Band of Horses, a more ecumenical Fleet Foxes, or just a damn fine group of musicians with a knack for kicking out youthful, country-tinged pop songs without an agenda.

WZRD, the album, is sort of emo, sort of dream pop, and surely an indulgent effort that surprises with its chemistry and willingness to follow the music.