Together, these two Unplugged Sessions--which, in this incarnation, include 11 performances not featured on either broadcast--make for a bit of a treat for hardcore R.E.M. fans, a document when the group was near the peak of their powers.

Plenty of other modern acts have gone for the gold with this type of powerhouse, '80s-inspired electro-pop, but Kibby's material feels more memorable and has the weight to back up the heavy production.

This is an understated and promising first step from an unpredictable and distinctive talent.

While Lee Bains III & the Glory Fires may be a great rock & roll band, they haven't quite cracked the code on making a great album, at least in terms of audio, and Dereconstructed manages to be impressive, encouraging, and frustrating at the same time.

Those eight songs are noisy psychedelic pop at its best, however, on par with anything else treading a similar path.

Underneath the amplification, the songs are still there and still sturdy, but the buzz of stomp boxes hides that craft while also suggesting the songs run much longer than they do (most of the songs barely tap out over three minutes).

Ultimately, on Towards, We Were Evergreen have moved slightly left of the indie pop center and achieved something quite interesting and enjoyable.

Like the late-night cautionary tales that play out in their songs, the real key to enjoying The Orwells is to just not overthink it and listen and enjoy the music, because time spent pontificating about their age is time that could be better used for partying.

La Grange's newfound electronic experimentalism also fits nicely next to works by her similarly inclined contemporaries like Goulding, Grimes, and Alex Winston, adding a unique and unmistakable twist to the subgenre that makes it seem all her own.

Those who continue to stick with the band will find themselves rewarded with another fine addition to an impressive catalog and an example of grown-up psych pop that's both calming and soul-searching, while never being anything less than completely enjoyable.

Heavy Reverie does seem a bit like a holding pattern, which isn't necessarily a bad thing, not with a band as good and as maverick as this one is, but it leaves one wondering just how good these guys could be.

There's a take-it-or-leave-it quality to Await Barbarians' open-ended, unvarnished songs, but more often than not, Taylor draws his audience into the album's world in a way that feels like a visit with an old friend.

Even though Vek doesn't find or offer any easy answers on Luck, its highlights capture the most challenging and engaging parts of his work.

An equally strange and sexy debut, Zaba's most audacious moments suggest Glass Animals will be an even more compelling act next time around.

As it is a Chrissie Hynde project, it is a little inconsistent, sometimes sagging on ballads or dragging its feet at mid-tempos, but there are several strong additions to her canon and the overall feel is appealing and, thanks to her unexpected collaborator, fresher than expected.

Ultimately, with Love Me, Barfod has crafted an album of highly engaging, emotionally resonant pop music that's as creatively rewarding as it is accessible.

It all makes for a complex, often beautiful debut album that affords Kelly even more expression and possibilities than what he's done before.

Ultimately, with Whispers, Rosenberg has crafted an album of sweet, hummable anthems for tender-hearted troubadours everywhere.

This is a promising debut with flashes of brilliance that shine even brighter considering Pulos and Laffer's youth when they made it.

Her performances evoke all the anger and passion of the alt-punk heroes that inform White Lung's sound, but surpass many of them when it comes to control or the incredible clarity in her spitting, snarling delivery.

As severe, wild, and dissonant as they can often be, Greys somehow manage not to take themselves so seriously, making If Anything an inviting debut full of character and some ferocious playing.

Bright Side of Down should resonate with Gorka's fans and those of modern American folk music.

By the end, listeners will feel like they've been laying out in the sun all day, warm in the glow of the Donkeys' heartfelt love for all things Cali, complete with the sound of washing waves and seagull cries.

The final result, Don't Wait Up, appeared in June 2014, and was a fitting final salvo from the band, loaded with tough tunes and powerful messages that pack an additional emotional punch as the band rides into the sunset.

Even when he's screaming laughably about demon lovers and being swallowed into the bottomless pit of despair, Cowgill seems to have a meticulous eye on his songwriting skills first and foremost, keeping Fear more interesting than heavy-handed.

The overall effect is a band that's dug in their heels in the studio and is going to make the most of the way the individual voices bounce off one another, and if they're shooting for something less challenging on Favorite Waitress, the feel of the music clearly seems to suit them.

Far from sounding as if they're grasping at straws, Linkin Park seem rejuvenated, proving there is value in the cliché of returning to roots.

Lower stand out for their unique blend of cathartic explosions and restraint, creating something remarkably powerful in their use of dynamics and tense pacing.