Degeneration Street, the group's fifth studio album, finds the band not only back at capacity, but bursting at the seams with engaging melodies, memorable choruses, and renewed apocalyptic fervor.

Memento Mori (musically, at least) owes more to the tech-heavy, similarly faith-based King's X than it does the moody atmospherics of Evanescence, but there’s enough angst and obsession here to draw fans of the latter.

Lonely Twin takes a sweetly woozy way through its length, at once enjoyable enough while still feeling like a recapitulation more than a way forward. Still, even with that caveat, it's pleasant enough listening.

At the very least, it would do Avary a world of good to have someone to urge him to ease up on the throttle of his vocals.

While all of Groban's albums are immaculately produced affairs, All That Echoes is one of his best.

With Selfhood, Sharks have come into their own as a band, one that’s grown past the simple sturm und drang of punk's three-chord limitations and emerged as something even more inspiring.

While the most aggressive electronic moments are also the weakest songs here, the merging of whispery pop and fully engaged electronic production is a huge success for a band whose output has been sleepier in the past, and points toward even more exciting developments in the future.

For the most part, Ours Is Chrome sounds like it arrived pristine via a tramp-stamped, nicotine-stained, Puget Sound time capsule.

What began with hope and reassurance ends with darkness and uncertainty. However, despite the loss of faith and the world crashing down, the band declares "here I'm alive" and the cycle begins anew.

These tracks are vibrantly cross-pollinated, touching upon lush a cappella ("The National Manthem"), R&B flamenco ("Love a Girl Right"), and buzzy, exotic club bangers ("Wasabi"). No question, Little Mix are in charge here.

The Invisible Light: Acoustic Space is not comfortable to listen to but is nonetheless compelling, and arguably necessary.

As a whole, Freedom Fables is a beautifully integrated, physical approach to song and narrative; it's a musical adventure as substantive structurally as it is enjoyable viscerally.

Buckley's arrangements of Weller's canny self-curation help give An Orchestrated Songbook a subtle but palpable emotional resonance that separates it from other orchestral pop reworkings, not to mention the heavy number of Weller live albums.

Anchored by Blake Mills' tasteful and creative production, the ten-song set feels like a small step forward for Mumford. It's both rooted in the past and primed for the future, like an exorcism gone right.

While there's more obvious contrast between Streisand's voice and the gruff Bob Dylan on the standard "The Very Thought of You," there's a warm sweetness and even a little thrill to hearing the two musical titans come together.

Overall, this is quite different (and stranger) than most Laraaji recordings, but even without his laughter or his autoharp, everything he does radiates positive energy, and this is simply another fantastic entry in his catalog.

Innings proves underground pop is still very much alive, and Nodzzz have made an album that strikes a perfect balance between simplicity and intelligently applied craft; they've made it a whole lot of fun, too.

Even if you don't delve deeply enough into these tracks to unearth all the layers of psychological discomfiture lurking beneath the softly inviting surface, there's more than enough to be gained simply by absorbing the artful unfolding of the tunes at face value.

Accept Bush as a delayed dank disco triumph, and then drop it like it's hot, one more time.

Fans of his live sets will wish this was mixed, but with a Skream mix of Major Lazer, a collaboration with Borgore, plus a freaky Lil Jon team-up you don't want to miss, the Diplo faithful should be well satisfied.

However understated the band aesthetic may seem on Sympathy, Scattered Trees nonetheless have a nice group spark on record that only benefits from Eiesland's own specific vision.

While the Intelligence may not sound quite as inspired here as they did on that album [2007's Deuteronomy], Everybody's Got It Easy But Me is still plenty of fun.

Golden Grrrls (despite actually having a bad name) made an album that embodies the best things about C-86-derived indie pop (warmth, innocence, honesty, community) and doesn't skimp on songs that make you want to get up and jump around the room with a big silly grin on your face.

Returning customers who like Tyler the ringleader, or Tyler the producer, will find this to be too much of a good thing, and can embrace the free-form Cherry Bomb as another freaky trip worth taking.

Easter Is Cancelled is a soaring and melodic evolution for The Darkness, a fresh step into maturation that retains their campy, fun-loving spirit without all the sleaze and filth.

Like the title suggests, Stars burns bright and fast.

All told, Prince Avalanche is a beautifully subtle and introspective score that highlights the strong points of its composers while serving the needs of the film it was written for.

The whole album is a barn rattler from top to bottom. Play this for anyone who thinks rock & roll is dead and gone. Heavy Trash again prove that theory dead wrong.