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.

[A] well-crafted album, which was made with love and intention by seasoned artists who have landed on a combination that truly works.

Durvitz's raspy voice and lucid, lyrical stories always hold just a hint of desperation, and even decades into a staggered career, these new tunes can’t help but feel like part of a larger narrative that began during the band’s '90s glory days but finds further, greater refinement here.

Especially after the staid Junk, the deliberate liveliness of Listen is indeed welcome, and sometimes, the results come close to infectious.

Foster is wearing her open heart on her sleeve but she's never pushing too hard, never overselling her message; she's charming with her warmth and sly skill.

Yes, the production on Homo Erraticus is too precise--there's too much air, there's too much room to roam, decisions that diminish the impact of the music --but the contours of the compositions deliberately and delicately recallclassic Tull, so Homo Erraticus winds up satisfying: it's as close to '70s prog as is possible in 2014.

You've almost certainly heard other acts do what Shovels & Rope do on Swimmin' Time plenty of times; the difference is, this duo can do it better than most, and that's enough to keep them going until they're capable of developing a more unique personality to call their own.

This is, for want of a better word, his wheelhouse, and while he may not be leaving his comfort zone here, Moonshine in the Trunk proves his strengths remain mighty potent.

If you have a grand desire to take on the world and want a suitable indie rock soundtrack, Brill Bruisers will certainly do the trick, and if this isn't the best effort to date from the New Pornographers, it most certainly doesn't disappoint.

Even if Junto isn't quite as brilliant as Basement Jaxx's early EPs or nearly flawless first three albums, it doesn't sound irrelevant or like the duo is chasing after past glories either--instead, it's some of their most exciting music in quite a while.

On Neuroplasticity, her ear-popping sophomore long-player, she takes the "doom soul" architecture to an exciting new level, pumping it full of nervy post-rock and no wave, resulting in something that sounds akin to Santigold, St. Vincent, TV on the Radio, Laura Mvula, and Macy Gray at their most despondent.

Dry the River's best asset is the conviction with which they sell each moment, and the aptly named album, for all of its cacophonous posturing, always feels like it's coming directly from the heart, even as it's set to explode.

For his second album, also released on Warp, Rustie indeed slows it down a bit and peels away some layers, but he does so without making any concessions to politeness.

Another Martin masterstroke.

Certainly more mature and thoughtful, with no "Friends of P" in sight, but plenty of songs that sound like timeless hits, and plenty of powerfully felt and delivered songs that hit hard right in the nostalgia zone, drawing blood and tears with every blow.

Manipulator is a reminder that Ty Segall knows his rock & roll, but he knows a lot more than just that, and this '70s-inspired madness results in one of Segall's best and most pleasurable efforts to date.

There is little time for respite during their breezy debut album that bridges the gap between heavy-hitting rock and digestible pop/rock.

This set is a massive leap forward, not only in terms of style but also in its instrumental and performance acumen; it is nearly unlimited in its creativity.

J. Mascis is developing a distinct persona for his solo work, and so far it dovetails nicely with his other projects, sharing certain virtues while having a mind of its own, and Tied to a Star is another step in an unexpected and quite welcome career evolution.

Five choice covers and five new originals that flirt with the fantastic, yet avoid an unnecessary trip down the rabbit hole.

While it's unlikely to define its own era, it calls forth some classic elements from a prior era to great effect, and with some top-notch songcraft to boot.

Perhaps Grande doesn't embody the songs the way an old-fashioned diva would, but she functions as a likeable pop ringleader, stepping aside when the track calls for it and then unleashing a full-throated wail when it's her time to shine.

Stronger than ever is the group's proclivity for shiny pop.

This young band delivers well-written and unapologetically retro pop/rock; that said, their enthusiastic delivery and clever arrangements are decisively modern.

They've made a lasting impression, and fans of indie pop looking for a band that isn't afraid to work to win them over should be forking over their hard-earned cash for Chorus as soon as possible.

Wild Onion makes a huge impact from beginning to end, and serves notice to all the bands out there who think they are playing rock & roll the way it should be played that there are some new kids on the scene who can show them a thing or ten.

Impressions is a wonderfully fun and deep listen that stuns right away with its channeling of ABBA, but also sticks around thanks to the craft and invention that went into its creation.

Cory Branan may not have any hits--yet--but No-Hit Wonder shows that's sure not for lack of talent or a voice that makes his songs go down easy.