Revolution offers a strong, cohesive take on what has quickly become the “Lambert sound:” a blend of lilting ballads and loud, fire-breathing anthems, many of which owe as much to rock & roll as country.

What makes Interstate Gospel so invigorating is hearing how Lambert, Monroe, and Presley mesh as both songwriters and singers. Their time apart has only strengthened their bond, resulting in a fully realized and resonant record that is their best to date.

So if the first disc of Enter the Vaselines is absolutely essential, the bonus disc is for fanatics only.

The 19 tracks here are all over the place, true to form for Russell and his ever-expanding inspirations. ... For all the fans who discovered Russell after his passing, collections like Iowa Dream are bittersweet time capsules, holding new evidence of his one-of-a-kind talents that still occupy a space all their own, even when unearthed decades later.

It's still Duster to the core -- as sad, exhilarating, and powerful as ever -- but it's colored by 20 years of life experience and dipped even more deeply in melancholy. At a time when almost every band ever has reunited to make disappointing, derivative music, Duster have come back to make their most sonically challenging and emotionally invested record yet.

Perhaps the most impressive thing about Multitudes is that virtually any of its 12 songs would be showstoppers in less consummate company.

Lyrical prowess is never in doubt, and neither is the idea that the MC is an acquired taste, but this wordy, extroverted, and capricious effort is an alive whirlwind with more pride than usual. That last bit makes it one of the most persuasive Aesop efforts to date.

While it may be inspired by Sandy's fallout, Landfall's reach runs to a sea of loss, chaos, and confusion. It's an elemental mystery of quietly epic proportions made exceptional through clarity of thought and feeling.

Nothing here is particularly outside the wheelhouse of Old Crow Medicine Show, but the songs are finely etched and the performances vivid, elements that separate Volunteer from its predecessors. Here, Old Crow Medicine Show feel focused and fully realized, as if they're just hitting their stride after two decades in the business.

With Imaginal Disk, Magdalena Bay straddle pop worlds, bringing together a maximalist dance club atmosphere and ecstasy-laced, burning Wicker Man euphoria, all filtered through a dial-up computer dream of the pop future.

Lonely People with Power finds Deafheaven incorporating the most successful parts of that album into their usual sound, resulting in one of their strongest works.

Yo La Tengo have been doing what they do long enough that they know and trust their process, and This Stupid World doesn't seem radically different from their work of the last 10 or 15 years. That said, this music feels warmer and more emotionally satisfying than anything YLT have given us since 2009's Popular Songs.

The consistent excellence of Tomorrow's Harvest is as comforting as a collection of quietly menacing android fever dreams like these could possibly be.

Just when you think they've hit an artistic plateau, they take another creative leap into the unknown, only to return with what feels like a deeper, more heartfelt statement of who they are. With This Is Why, Paramore underline that notion, pulling the artistic and emotional threads of their career into a cohesive, ardent whole.

The LP is another work of sophisticated simplicity with deliberation seemingly eschewed in favor of spontaneity. Due in significant part to Leach's active hands and the frequent presence of Hone's woodwinds, the material evokes gentle spiritual and Brazilian jazz almost as much as it does smooth private-press soul.

Full of great lyrics and great playing, Strange Mercy is St. Vincent's most reflective and most audacious album to date, and Clark remains as delicately uncompromising an artist as ever.

It's his friendliness that makes his musings on the human condition work, and with Winter Wheat, he's once again crafted another thoughtful and meaningful set.

A stunning achievement, with Loom Gately beautifully honors her mother as well as her commitment to uncompromising music.

Equally soothing and exciting, heartfelt and innovative, Ecstatic Arrow is Virginia Wing's finest work yet.

It may not be especially optimistic, but it's certainly powerful and inspiring, and we probably need that more from Cale than forced cheeriness, a skill he need not acquire this far into his career.

Crazy Ex-Girlfriend would have been impressive if it was just a showcase of her strengths as a singer or as a songwriter, but since it is both, it's simply stunning, a breakthrough for Lambert and one of the best albums of 2007, regardless of genre.

The modulation and echo treatments on the vocals, combined with the frequently torpid tempos, nonetheless make Astroworld ideal for being pumped through an (18 and over) amusement park's sound system near closing time, when the challenge of hitting all the rides has started to turn into an overindulgent, overheated chore.

Montero delivers in droves, a powerful realization of self that boldly places sexuality, honesty, and vulnerability at the fore.

New Bermuda finds Deafheaven continuing to effortlessly traverse genre borders and create transcendent music.

The group sometimes sacrifices immediacy for angular melodies and riffs that don’t catch hold. On balance, though, One Beat’s musical progression is still extremely impressive.

The Harrow & the Harvest is stunning for its intimacy, its lack of studio artifice, its warmth and its timeless, if hard won, songcraft.

All Our Reasons is wonderfully executed, and full of excellent tunes, nice improvisational turns, numerous surprises (many of them subtle), and a warm, lively sense of engagement throughout.

If you haven't seen Isbell and the 400 Unit on-stage, Live from Alabama will likely convince you to show up the next time they play in your area, and if you already have, this will remind you why you walked home impressed.