Espoir is one of the great surprises of 2009.

They will need to move on eventually, but for now Bricolage are just fine doing what they are doing, and their debut delivers on the promise of their early singles and then some. Edwyn (and Vic and James) should be proud.

Moneen's 2009 release, The World I Want to Leave Behind, is certainly a sign of the times in the rock world--intricate musical bits are combined with emo-like vocals, and in the process, the group never forfeits the importance of melody.

The Optimist won’t make anyone forget Fantastic Playroom, but it does work as a nice complement and shows that the group may have some staying power.

[Woomble] continues his journey into cozy-pipe-and-slippers-middle age on 12 folk-pop tracks which further distance him from his angsty, indie rock beginnings.

While a few of these songs stick in your ear right away, perhaps not surprisingly for a band named after small statues, the overall tone of the album is one of detailed intricacy.

Amazing as the music consistently is, however, it can't overcome this album's primary liability, which is Martyn's atrocious singing.

Dre's short, spoken bits end up the only speed bumps during all these twists and turns, and when you're complaining about interludes instead of the overall attitude of a Game album, you've got an obsession-free, almost relatable success that sacrifices none of the man's fire or skill.

It's certainly accomplished and self-assured, and at its best the results are truly impressive.

The album grows stronger as its second half wears on.

Union is a pleasant listen, but never quite reaches the anthemic heights the band is trying for.

Whether you want to label it post-rock, post-Krautrock, electro-rock, or some appellation of your own devising, Den does the Kreidler discography proud.

A solidly enjoyable, radio-ready pop album.

Atmospherics and meticulous recording are as important as ever, and while you can take a copy to the stereo shop to make sure that amp sounds rich and warm enough, the album is slightly more song-based than previous efforts, so finicky fans might gripe when the lyrics go quite Depeche Mode or James Blake.

The record may be a little short on variety, but it is long on mid-fi energy, and will give fans of the kind of stripped-down and live-sounding rock Dead Moon and the Wipers cranked out plenty of warm and nostalgic feelings.

While the ominous vibe is spot-on, the overall lack of hooks and power makes the record feel more affected than connective.

Gucci's inspired by more serene and soft moments at this point, so call this the most "couch locked" of all Trap Houses and get prepared to sprawl out for a long, low ride.

It's not fun but it's not meant to be: it's a bunch of lifers in their middle age reconnecting with the things they found important back then.

The album is split down the middle with the first half made up of shimmering, supercharged dance tracks that have disco and house influences and seem destined to fire up clubgoers with their soaring choruses.... [The final four] songs aren't as successful, thanks to the somewhat syrupy melodies and clichéd lyrics, but also because Cher's vocals sound a little worn and frayed around the edges.

Plugged In holds up well--20 years later, its isolationist roots rock doesn't feel dated as much as it feels out of time--and having a five or six strong cuts added to it does enhance its value, yet it's hard not to wish that ...Again was a full-on new album instead of this half-measure.

As a whole, Like It Never Happened benefits from its lower-budget production. It is, if anything, more imaginative than her previous albums.

Building upon the anthemic synth pop of their previous 2013 album, Anna, the Manchester outfit delve even deeper into a layered post-punk sound that finds them adding more guitars and even strings on some cuts.

If Florida Georgia Line feel anonymous, that's not a bug: by design, they're playing to the largest possible audience, so nobody should be surprised that Anything Goes is so broad it avoids such messiness as personality.

The wonderfully weird "Vegas" from Bad Meets Evil (Eminem and Royce Da 5'9) makes one wish the Shady label boss would find more time for the project, but he's already quite stretched behind the scenes, producing or co-producing eight of the cuts on disc one, including Skylar Grey's "Twisted," which isn't hip-hop, but glittery and goth giganto-pop. Great, grand, risky, and clever moments like this make Shady XV the worthy celebratory object that it is, but don't expect a deep roster or a cohesive game plan, because the label has always been more about close friends and family.

Having been immersed in the changing tides of independent hardcore and emo since 2001, the band makes nods to its seasoned pedigree with the song title "The Jade Tree Years Were My Best," referencing Delaware record label Jade Tree, which reigned supreme in emo circles during the late '90s.

Brava has a unique voice, one that's choppy, quirky, welcoming, and likely smells of blunts when it burps.

It is recognizably the album in its form but not quite in feel.

With every album, Souljazz Orchestra bring provocative surprise and musical delight. Resistance is no exception; it's chock-full of vitality and adventure.