Darnielle can sometimes be too clever, loading in more than a song can bear, but he keeps that tendency in check for the most part on Heretic Pride, and the result is a wonderfully accessible and varied album that hits all the right buttons at all the right times.

Bell X1 don't fit comfortably into any of the pigeonholes of modern indie rock: more down to earth than Radiohead; more fun-loving than Coldplay; and too sophisticated to be lumped in with Franz Ferdinand. Bell X1 occupy a niche all of their own, and long may it continue.

For Emma captures the sound of broken and quiet isolation, wraps it in a beautiful package, and delivers it to your door with a beating, bruised heart.

The songs have more bite than those on "Other People's Lives," as do the performances, which makes Working Man's Café more immediate than its predecessor, yet it benefits from repeated plays as well, as those subsequent spins reveal that these 12 songs are as finally honed as those on "Other People's Lives."

It's clear that Goldfrapp doesn't miss the style the pair perfected on their last two albums, nor should they--this is some of their most varied, balanced, and satisfying work.

The likes of 'Never Letchu Go' (a sweet, glistening ballad), 'Luv' (carrying a brisk, feel-good clap-and-bounce), 'Rollercoaster' (suitably jittery and giddy), and 'Can't B Good' are as innocent, universal, and inviting as anything else in Janet's past.

Beach House's dark moods have more shades, and even a little bit of light, making them all the more compelling.

It is her warmest, most ambitious, searing, and gutsy record yet.

It resonates with emotion, tenderness, and a sense that she has found comfort in life and her songwriting that may have been missing before.

Go Away White sounds like the four were trying one last time to reclaim the idea of Bauhaus as band and ethos from all the many limiting clichés heaped on it, something which the album title, taken from the song "Black Stone Heart," slyly hints at.

It demonstrates that Jackson is as comfortable with the poppier side of country as he is with the harder stuff, and he can deliver it without seeming as if he's pandering, a feat that is almost as impressive as those generic detours he's taken in the past few years.

Saturnalia is mysticism and hedonism, saints and sinners, dark and light, but this is no clear-cut Manichaean collaboration. Both Lanegan and Dulli represent this, both contain all the good and the bad they sing about, sometimes at different moments but very often together, and it's that joined duality, that very disturbingly human quality, telling us things about ourselves we'd rather not acknowledge, that makes the album so absolutely alluring.

Not since "LP5" has being impressed been so obviously secondary to enjoyment.

An album that accepts its imperfections as a part of its charm, and, all things considered, a pretty irresistible release.

Breaking Kayfabe is a cohesive set of songs, backpacker in the best of senses, smart and witty and provocative, experimental and well-produced, but at the same time very raw and very real-sounding.

It may sound at first like the makings of a mediocre goth album, but the band's combination of a taut, tense, elegant delivery and poetic lyrics breathes life into each of Red of Tooth and Claw's songs.

It displays both crypticness and honesty, intellectualism and vulgarity in equal measure, challenging and placating its audience in the same drawn-out, undefined, nasally breath.

The Portrait Is Finished and I Have Failed to Capture Your Beauty blends influences from two generally antithetical musical subgenres--hippie psych-folk and '80s U.K. art pop--into a languid, low-key whole that's perfect for both lazy, cozy lie-ins and middle-of-the-night headphone listening.

Beat Pyramid begins and ends in the middle of the same sentence, literally and figuratively, but it doesn't come across as contrived or insincere, thanks mostly to Barnett, who conveys his words in a manner that is simultaneously solemn and half-winking, as if he knows they could be totally wrong, but he's going to say them like they're all he's got left, anyway.

Asking for Flowers leaves no doubt that Kathleen Edwards has arrived and made an album that's funny, startling, poignant, and (once again) worthy of repeated play.

While it may not be as striking an artistic statement as its predecessors, the general tone of easygoing bonhomie makes Transnormal Skiperoo a decidedly satisfying release, and the simple fact that it's an album's worth of fine new White material is in itself cause for plenty of contentment.

This is sheer attack metal, played by a band that has run from simplicity to excess and incorporated them both into a record that is on a level with anything else they've done, even if not all the elements marry perfectly yet. Just get it.

It's a tighter, less primitive album than its predecessor, but as such, it has a lot more to offer as well.

Bouncing from Mexico City to Prague to Milan to Denver over the course of ten songs, DeVotchKa's fourth full-length shows a band aging gracefully and eccentrically.

Butler's production makes her solid voice and intriguing songwriting into an excellent album; although he stays in the background, the occasional guitar flourishes or sweetened strings make Rockferry a better debut than Joss Stone's or Amy Winehouse's.

The Seldom Seen Kid is Elbow's most self-assured and enjoyable album so far.

As the group replaces departing guitarist (and founding member) Dave Dederer with Andrew McKeag, while they bring Seattle underground mainstay Kurt Bloch in as producer, all elements that help make These Are the Good Times People perhaps their most eclectic album to date.

Those who think the late 2000s are devoid of bands that know how to rock should devote three seconds to this album — they will instantly see the folly of their ways.