Some regular guys craft occasional masterpieces, but Hayes Carll more often is the guy who delivers a good, solid, and enjoyable piece of work and then moves on, and that's what he's given his fans on What It Is. Like the cheeseburger that regular guy ordered at the bar, it may not be fancy, but it sure leaves you satisfied.

Ellis may have suggested this level of melodic songcraft on his previous albums, but he never hinted at this wit, and his dexterous combination of craft and humor makes Texas Piano Man a rich, resonant good time.

A welcome return, Ladytron is a remarkably consistent and engaging album that befits the band's status as synth pop veterans.

"Tell Me It's Over" sways with echoes of a '50s slow dance, "Crush" is so light it floats into the stratosphere, and "Bigger Wow" swells with strings reminiscent of vintage Vanessa Carlton. Such moments provide a needed contrast to the motivational ones while also connecting to Lavigne's bubblegum roots, a move that makes the overall maturation of the album feel earned.

Frightening and utterly exhilarating. The rest of the album isn't as overtly violent, but it's no less captivating, and it confirms the Assassins' mastery of building apocalyptic sound worlds.

An album that's part catchy song, part shimmering atmosphere, and part fractured rumination. It will be interesting to see what Webb comes up with for album four; in the meantime, Triage offers Methyl Ethel's most immersive collection to date.

Guided by Voices have been enjoying an unexpected but very welcome late-career renaissance, and anyone who has ever had a taste for their singular take on rocking pop owes it to themselves to check out Zeppelin Over China.

It might not quite measure up to the very tall order of being another Dare or Different Class, but the record comes close and that is something the band should be very proud of.

It's an act they've being pulling off for a long time and it still doesn't sound at all tired. It helps that Murphy wrote a fine bunch of songs, from the rambunctious ("tonite") to the poignant ("oh baby") to tracks that rage like Gang of Four at their best ("emotional haircut").

A serene, thought-provoking album that grows richer with each listen.

At its best, Pop Monster injects plenty of fresh ideas into the Broods' repertoire, offering a handful of confident and polished gems that could have made for a stunning album if they had just sharpened their focus. Otherwise, lackluster inclusions that echo Lorde's sophomore shift dull the effort, which distracts from the excitement that occasionally shines through.

A broadening of consciousness blends nicely with Yak's gut-level execution, resulting in an uncannily absorbing slice of neo-psychedelia.

Sometimes, Vol. 4 :: Slaves of Fear feels almost too successful at what it sets out to do, but as bleak as it gets, there's something special about its empathy and honesty.

While Unloved's pastiche of ultra-hip influences could easily be too mannered, the emotional honesty of songs like the haunting finale "If" makes Heartbreak a near-perfect union of style and substance from a group growing by leaps and bounds.

Affecting, cathartic and unsettling, Girl with Basket of Fruit reflects that while the edge to Xiu Xiu's music has changed with time, it never dulls.

As far as anthologies go, Twenty sticks to a pretty standard format, offering a chronological track list that features the expected highlights from each of their seven studio albums, along with a pair of new songs tacked on at the end for good measure and added freshness.

While the album is his most musically rambling yet, with the exception of "American Canyon Sutra," there's no denying its elegant musicianship.

With its lavish arrangement and Williams' gritty performance, the band find new ways of celebrating one of the great underappreciated artists of the '60s and '70s--something that's true of Bobbie Gentry's the Delta Sweete Revisited as a whole.

Staples sounds more energized and in control here than on the 2008 set.

Sunshine Rock is the fourth installment in one of the most satisfying chapters of Bob Mould's career--no small statement considering his legacy--and the tender ferocity of these songs is something no one else could do quite this well.

Like their debut, Ideal Woman is challenging and sometimes difficult, but fearsome in the way that quality rock music often is.

Dando remains a sensitive, nuanced interpreter and, as produced by Matthew Cullen, the Lemonheads sound amiable and charming: the best college bar band you could imagine stumbling upon on a Saturday afternoon.

Though earlier albums saw her crafting a strange otherworld, the perpetual sunset hinted at before is painted here in new dimensions, making this set of songs her best and easiest to revisit.

The relatively empty arrangements take a few listens to latch on, but their openness showcases Lennox's gifts for honest, fearless songwriting. Try as he may to embrace external influences, Panda Bear remains inescapably himself.

Here Chapman obviously revels in his continued ability to mine the emotional, psychological, and spiritual terrain he did in his younger years as a songwriter, while adding experiential depth to his approach through a lifetime of profound musical development. In an enormous catalog, True North stands straight-up alongside his finest recordings.

A singer who not only knows what she wants but knows that she's wanted, and that attitude unites and propels thank u, next through its ballads and R&B jams, turning it into an album that embodies every aspect of Ariana Grande, the grand pop star.

Packed with breezy, witty, should-be hits, Bonito Generation is a winning mix of subversive art and genuine heart.

More than just a worthy successor to Upstepping, Shelley's on Zenn-La reconfigures both modern classical and electronic dance music, producing a wholly original work which knows no boundaries.