An immersive album that feels designed to be taken as a whole, What Is This Heart? reveals How to Dress Well coming into its own.

AC/DC still can sound invigorating - and make no mistake they do here, as much as they ever do on a latter-day record - but they just need to tighten up, cut back, crank it up and sound a little rude again.

Banhart's persona emerges intact despite the mainstream sound, however, and What Will We Be becomes a pleasantly fresh album to follow the ponderous, sprawling "Smokey Rolls Down Thunder Canyon."

Even as Tycho adds more depth and variety to his sound, his music's main success is giving listeners an attractive backdrop for whatever they might be doing.

The moody stateliness of When You See Yourself showcases their knack for building melodrama. The downside to this gift is that the album can seem like an interconnected piece, not a collection of songs. Individual tunes don't float out of the ether so much as fade into another handsome moment that's distinguished by production flair as much as it is by melody or hooks.

Even though Underneath is a little too polished and Pro Tool-ed, that pop sensibility still rings loud and clear throughout the album, and track for track, it's likely their strongest album, even if it lacks glistening highlights along the lines of "Mmm-Bop."

Underscoring the songwriting skill he's been working at since age eight and over the course of 11 songs, he plays acoustic, folk-rock, alternative, power pop, and straight-ahead rock; his lyrics are consistently heart-sung but they aren't lite (he's got weight and bite too).

Her self-titled debut sounds a wee rushed and sometimes meanders its way into background music territory, but this comfortable effort is pleasingly homegrown, warm, and poignant in parts.

This reverence for Campbell's greatest work is what grounds Meet Glen Campbell, as it shows a deep understanding of what made those recordings work as pop records as well as an understanding of what a terrific interpretive singer Campbell is at his peak.

The 2012 debut is a pretty accurate throwback to the sound of golden age East Coast rap, complete with soul samples and boom-bap beats.

Despite all of these guests and shifting stylistic moods, World Music Radio holds together nicely. The production has an organic, musically experimental vibe that feels like Batiste is really bridging his jazz and pop influences. There's also a sense that he is digging deeper emotionally after a tough few years.

Once again, probably not a highly sought-after sound, but then again, when an album is this well put together, who really cares?

A celebration of the duo's music, Woman Worldwide rewards fans who want to delve into its musical connections as well as those who want to get lost in its momentum.

It doesn't just repeat the past, it mines it for gold while tossing out the dross, a process that works to refine this record until it gleams like a precious gem.

Offenders and highlights aside, Here Comes the Cowboy might have been trimmed down to a solid EP or mini-album, but as a whole it just doesn't live up to the standards DeMarco set on his first three albums.

This album's often a bracing, propulsive listen, the hardest rock Yorn has ever recorded, even if it does suggest Yorn is like tofu, adapting the characteristics of whatever spices he's paired with.

The overall tone of the album, and the fact that they have made two records in a row like it, might be enough to chase away many of the band's original fans for good, but those who stick around will be treated to an album of fine, fizzy adult punk-pop with a mean streak and a broken heart.

When it all comes together, like the play it takes its name after, Tempest is turbulent, dark and wondrous.

Maybe folks were tired of Earle's happy songs, but if you want to hear the man have a good time while kicking up a fuss in the studio, Terraplane is a ride well worth taking.

It is a fetching 40-minute album, with each song supplying its own set of penetrating hooks, ear-ticklingly sharp guitars, moody synthesizer gauze, and mobile rhythms.

Those who really love Frank Black and Black Francis' songs, as opposed to just their sound, will enjoy eavesdropping on him playing around with his work.

While Golden Worry isn't quite as deep as Terrible Two, it's an exciting follow-up, nonetheless.

A compilation of the emo-punk band's favorite tracks, all reworked acoustically.

There's no filler, which isn't so stunning since this is an EP.

It took Seeland five years to issue Tomorrow Today, but it was time well spent--these unique and immediate songs build on the band's past but never feel restricted by it.

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.

Ultimately, with Creation, the Pierces have delivered a lovingly crafted album that showcases their creative growth.

The only thing lacking after the debut were the pop songs. This was evident with each successive proper album, but this flaw is put into too sharp of a relief on Absolute Garbage.