Suede can still dwell on big issues of love and mortality, but now that the past is in perspective, it all means a little bit more and what lies ahead is a little more precious, and that wide view makes Night Thoughts all the more moving.

On record, they do retain some of that magnetism, but much of their songwriting seems to simply serve their musical style without making that much of an impact. There are exceptions, of course, especially with album closer "Egypt Berry," which is easily this album's strongest track.

As demanding as it is, the story and music are worth the effort. Dream Theater have invested in the "album" concept (and in listeners' attention spans) even as the music biz doubles down on the notion that long-players are merely envelopes to hold singles.

A Tuesday afternoon pool party of a record, Songs in the Key of Animals sounds like a great time was had by all, but that you kind of had to be there to appreciate it.

On Pond Scum, these songs seem to escape fully formed from Oldham's soul, even the no-frills cover of Prince's "The Cross," and if one has to take an educated guess about which Bonnie "Prince" Billy we get on this album, it's certain that what he has to say is well worth hearing.

The crowning achievement is that all of the musical and lyrical poetry works together to make a haunting, howling album that, despite outward signs, is above all tuneful and engaging.

Catchy and upbeat, these are the poppiest offerings on an album that otherwise is content with patience, comfort, and peace.

Williams remains the data-age Gil Scott-Heron plus a collaborator who elevates, as Reznor, and now Warfield, have both upped their game in the presence of such a radiant creative force.

Given that Furler didn't originally plan to make these songs her own, it's impressive that This Is Acting works as well as it does--only the wannabe banger "Move Your Body" and "Sweet Design"'s flashy, hard-hitting R&B are truly unconvincing. For the most part, however, This Is Acting's meta-pop is another example of how cleverly Sia brings her her experiments into the mainstream.

As an album, Gumption meanders quite a bit, occasionally to the point of feeling detached, but its glimmers of gold make for an ultimately compelling listen.

Armed with sounds of vintage gear recorded at a hospitable Austin, Texas instrument shop, Anand created Para in a number of locations, yet the album sounds like it was made in deep, zoned-out concentration. Its track sequencing is fluid as well, even when the array of approaches verges on excessive.

Wabi Sabi definitely feels like an album that could only have been conceived in an arid desert rather than a bustling city, and the remoteness of the couple's surroundings has certainly made them pay more attention to details and take notice of small, unique things such as the scorpions that adorn the album's cover.

Nugent may not distinguish himself from his influences on Night Vision, but, like fellow guitar slinger Ryley Walker, he couldn't care less. He's only interested in playing the music he likes and growing from what he learns in doing so. In the process, we get a killer rock & roll album.

On their debut, Coasts produce a competent collection of catchy arena-ready tunes that could eventually carry them there.

Though a couple cuts aren't as quick to stick to memory as the sweet and sour soul displayed throughout the stunning 2011 album, this less novel but engrossing sequel is another worthy addition to the Younge discography.

Pawn Shop never dwells on such contradictions. It rolls along, easing from funky little workouts to immaculate ballads, the duo benefitting from a heightened sense of craft aided in part by the collaborations of such pro songsmiths as Craig Wiseman, Barry Dean, and Shane McAnally.

A record that exists out of time but feels fresh in how it evokes portions of our collective past.

The whole thing comes off as an imaginary Tricky radio station where the DJ plays his own stuff and mixes himself into other artist's tracks, so if alternate views and unclassifiable collections are desired, Skilled Mechanics isn't a lark or a side project but a necessity.

Ultimately, Death of a Bachelor marks the final transformation of Panic! At the Disco from egalitarian emo band to collaborative pop band headed with singular charisma by Urie the uncontested chairman.

Curve of the Earth wastes little time in setting the controls for the heart of the sun with the lead single "Telomare," a big, atmospheric blast of anthemic, mid-'90s stadium rock that segues nicely into the equally dreamy "Bombay Blue." From there things bounce back and forth between the bucolic and the sublime.

Third Law is a startling, fascinating listen and another triumph for Porter.

Infinite Summer's sci-fi pop blossoms under headphones, but it doesn't always live up to the promise of NZCA Lines or its concept.

In the Magic Hour lives up to its title. O'Donovan's sometimes searing, always poetically rendered lyrics are matched by astute, economically articulated melodies.

The result is an attention-grabbing album that reaches inward and artfully delivers vulnerable thoughts through sharply honed production skills.

A striking second album, the different perspectives Adore Life bring to Savages' music make them sound more vital than ever.

Even if said listener is inundated with shiny, R&B-based pop, as is anyone who has access to a radio or the Internet in 2016, there's something about the way Chairlift operate that helps them to stand out just enough to truly shine.

Coming in at just over 50 minutes, it's the band's most streamlined collection of music since 2008's career-defining Rook, and their most vital offering to date.

Emotional Mugger is a stiff shot of raw, cocky joy that hits its target beautifully.