There's nothing here that screams big hit–-but it's something better: the work of a diva who is comfortable in her own skin.

While it may lack some of the focus of its predecessor, it retains every bit of its oddball charm.

Ultimately, while Salute retains all of Little Mix's infectious, teen-friendly ingredients, it reveals a new recipe for fans whose palates have matured right along with the band.

Usually, Inside Llewyn Davis is straight satire, though, as it concentrates on the titular character's channeling of Von Ronk and, as such, has no intention of treating the music cavalierly; it winds up as something unusual for the Coens: an homage that comes from a place of warmth, a salute so loving it's hard to deny the affection.

He's an artist with ideas and while they sometimes pile up and crash on Cupid Deluxe, it's always a spectacular crash, and that's something worth investigating.

Ultimately, Some Things Never Stay the Same is a classic second album: it's not as consistent as Starting from Nowhere, but its highlights suggest Heidecker & Wood will deliver even more convincing and subtly funny songs next time.

Sweet & Hoffs identify why each of these tunes remains beloved, by audiences large or small, and the faithful, heartfelt nostalgia combined with the pair's participation in the scene makes Under the Covers, Vol. 3 the best trip down memory lane the duo has yet made.

More than just musical footnotes, these reworkings add extra depth to Mount Eerie's already complex body of work.

The album has a nice, gentle sway and Pickler has expertly modulated her diva moves so she's now a skillful country singer.

Daughtry has never allowed Daughtry to be silly before this record. This relative lightness makes a big difference--it also helps that the music itself is relatively nimble--and, ultimately, this turns Baptized into the best album he or his band has made.

Even if every track here isn't quite as inspired as this song, or the music from the first movie, The Hunger Games: Catching Fire is a solidly entertaining soundtrack.

If there's anything superfluous going on, it's simply happening too fast to worry about it, and while this means that it takes more than one listen to really take in what's going on, the album is solid enough that a second pass is a welcome proposition.

Fellow Travelers makes the listener feel like they snuck in the back door of the club and are bearing witness to one of the coolest soundchecks ever, and while it may not be the follow-up that fans were envisioning, it certainly deserves a slot in every Shearwater enthusiast's collection.

They're a good match. Jones' suppleness sands down Armstrong's ragged voice, he gives her grit while she lends him grace and these qualities are evident throughout this lovely little gem of an album.

Birdy's second release is a testament to her confidence in her own songwriting talent, and of course, to the fragility and intensity of her pure, unblemished vocals.

The web of sounds here creates the same relaxing and breathable environments as Eno's most meditative work, just a far more lo-fi rendering of it.

While these eclectic songs are intentionally less cohesive than either of the duo's albums, Nun's progression from Tracer and 7AM is equally logical and exciting.

Breathy R&B vocalist Jhené Aiko fleshes out her character on Sail Out, a relaxed debut EP that suggests that this girl is on permanent vacation.

As song after song of hazy quiet storm clouds roll by, it's easy to fall into an intoxicated trance that's only jostled into a dim awareness a few times by brightly strummed, very '80s-feeling guitars ("Light Through Lace"), finger-snapped basslines ("Under the Rose"), and the occasional vocal that cuts through the mist and almost delivers some naked emotion.

Ultimately, Live from KCRW feels like an addendum to the larger work of Push the Sky Away, but the musical and emotional force of this music is more than strong enough to merit its release; this is a striking reminder of the excellence of Nick Cave & the Bad Seeds as a live act, and Cave's maturation into one of the most extraordinary songwriters of his day.

Think of it as a personal and meaningful gift for fans, not just some "didn't think much about it" trinket or faceless gift certificate.

Good fun for confirmed followers, and not a bad sampler for those needing a taste of Thee Oh Sees' special brew.

The often awesome The Second Album is more concerned about opening doors than just preserving the Latyrx legacy.

There's no mistaking Days of Gold for anything earthy, but this sonic thawing winds up emphasizing Owen's inherent sweetness in an appealing fashion.

Even if this is Snoop's first album with a single producer since the monolithic, Dr. Dre-helmed Doggystyle, don't call it a comeback, call it lark, and a funky, welcome one at that.

Forty years on, Los Lobos are still one of America's best, bravest, and most satisfying bands, and their skills and their their instincts remain razor-sharp, regardless of their stage volume.

My Friend Fish is a really promising debut and a nice jolt of weirdo pop that should tides fans over until the next Foxygen album comes out.

Among the Grey songs drift quite naturally into and out of one another, creating a dreamy, labyrinthine, beguiling, listening experience.