Dauwd takes more risks on this album than on his prior releases, and it ends up being his most rewarding work yet.

A lifetime away from the Long Island quartet's emo and pop-punk origins, Science Fiction is a complex and nuanced beast of introspective indie rock and detailed production.

While this LP is yet another release that is not Maxinquaye, compared to the average Tricky album, it's accessible, mostly focused, and offers a handful of moments that remind listeners of his early promise and hold attention until his next effort.

20 Years in a Montana Missile Silo's glimpses at life's unknowability are disturbing, affecting, and always fascinating--and prove that Pere Ubu are as vital as ever in the 2010s.

When artists reach a certain point in their careers, they can maintain the status quo or they can challenge themselves; Ranaldo chooses the latter on Electric Trim, imbuing his poetic cool with earnest, quixotic charm that makes this some of his most wonderfully unpredictable music yet.

Trouble No More, more than Saved or even the fine Slow Train Coming, is buoyed by the music. Whether he's singing a slight song, easing into testimony, or leaning into a blues, Dylan seems engaged, even on the verge of rapture, an excitement that carries through the full live shows from 1980 and 1981 on the Deluxe Edition.

The robust rhythm battery of Rönkkö and bassist Rasmus Stolberg really propels 1982 forward and adds a great deal to their bigger picture. An improvement on their debut, this release solidifies Liima as a band.

Peeling away the factors that obscure Griffin's talent--the vulgar hedonism, the cavalcade of predominantly superfluous guest artists--can take some effort. Beach House III is nonetheless conclusive evidence that the singer, rapper, songwriter, producer, and multi-instrumentalist is among the most skilled and creative figures in the business.

Though Ware co-wrote all the songs and is in full command from start to finish, the album has a stitched-together quality that starts to slowly unravel during the second half.

Even if Joli Mai's presentation isn't quite as dazzling, the undeniable quality of these tracks makes it a welcome companion piece for more than just completists.

Elegant from the first minute to its 70th, Ojalá is an essential album for fans of Raymonde-affiliated projects like Snowbird and This Mortal Coil, and is among his and the year-in-indie's most exquisite works.

Everything comes to a head on "Closure," an extended 11-minute smooth-funk jam that throws all the album's strict structure out the window. Its presence not only draws attention to how Maroon 5 can vamp, it also highlights the discipline behind the rest of Red Pill Blues.

Hushed yet haunting, Phantom Brickworks offers a beautiful new perspective on Bibio's music.

As it stands, New Shapes of Life is a solid record that connects quite often on an emotional level, but is far too easy to tune out and shift to the background, something that can almost never be said about any of Carr's previous work.

At this point in their story arc, Bannon, Kurt Ballou, Nate Newton, and Ben Koller really don't have anything to prove, which makes it all the more impressive that they haven't let up on trying to do just that.

The Endless Shimmering displays ASIWYFA's unrelenting optimism, and demonstrates their mastery of their singular brand of math-grunge.

It's all somehow pulled off without coming across as aesthetically erratic.

4eva Is a Mighty Long Time is a mighty long album, at 20 songs and two brief skits, but K.R.I.T. clearly has a lot to say, and he expresses it with vigor and passion on this ambitious work.

The combination of talents involved works in all of their favor, and the result is a short, snappy modern art-punk album that is a worthy addition to each act's already strong catalog.

For a band that has evolved from screamo to such thoughtful artistry, The Canyon is a stunning offering.

Meaning of Life is one of her most satisfying albums: it feels like not just a collection of good tunes, but a statement of purpose.

Beneath its glossy surface, there's not only plenty of melody, but a perverse sense of humor that keeps the record from sounding too smooth and settled.

Face Your Fear ups the ante for Harding, bumping him from promising newcomer to major artist, and if you like good songs played and sung with true conviction, you won't want to sleep on this.

Black Notes from the Deep is a jazz album deeply engaged with classy, 21st century soul, yet it refuses skittering, schizophrenic jumping around. Instead it flows seamlessly; it's smartly, even ingeniously arranged and expertly played and produced. In its sheer quality, it underscores Pine's continuing role as the true boss of British jazz.

Romantic, sophisticated, and rich with vocal prowess, Nat "King" Cole & Me lives up to both Cole and Porter's own immense creative reputations.

Even outside of the film's context, Deacon's score is fascinating, brilliantly showcasing his skill at crafting experimental yet reflective sounds.

The Lonely, The Lonesome & The Gone provides listeners an exceptionally well-rounded portrait of both the mature writer and the iconic singer.

Better then to treat World Wide Funk less like an addition to an immense discography and more like a porta-party.