Dancing and dreaming at the same time is always lovely, and with Apar, Delorean have again provided a perfect soundtrack for just such a pursuit.

It's hard to tell if the album feels angrier and grittier than its predecessor, or if peeling off the layers of lo-fidelity actually reveal an artist more raw and without rules than we first perceived.

That her instincts are often right speaks to her skills; that she veers into accidental condescension suggests this country move may be motivated by finding a new audience, not satisfying her existing one.

The slightly wider vocal range and additional expressiveness don't hurt his cause. For those who aren't as easily drawn into Tesfaye's world, this will seem roughly as insufferable and as bleakly aimless as the earlier material.

It's Goldfrapp's most sophisticated work to date, and one of their most consistently satisfying albums.

Maturity suits the group, and "Pink Wonton," "Sparks," "Paul's Grotesque," and "Head On" have all the makings of breakout singles with their fun, memorable choruses and subtle yet clever musicianship.

Worth the three years it took to materialize, this is a strong, assured debut that shows Factory Floor can build on their influences in a way that feels fresh.

It's all fresh and vigorous, very much in the present and built to last.

Made in California is most decidedly not for the casual fan. It is for the dedicated, the kind who knows the story by heart but wants to hear it told slightly differently.

Carrier ends up being a remarkably balanced meditation on joy and loss, as well as one of the more nuanced albums in Dodos' body of work.

With the incentive of live material for old fans and the sheer brilliance on offer when these records are taken together, The Warner Bros. Years is a powerful testament to Earle's second act.

While the acoustic renditions of the songs certainly have a more pastoral and contemplative feeling about them, Yellowcard still manage to keep the energy that made the album so vital when it was released in 2003.

Thankfully, Grande has the chops to pull it off, and Yours Truly makes the most of her talent.

We Knew may be a less immersive listening experience than Kudos was, but it makes up for that by sounding better and having better songs.

Similar in style and cadence to their previous outing, Meet Me at the Edge of the World falls somewhere between the rural, antebellum folk of Gillian Welch, the evocative, sepia-toned eccentricity of Tom Waits, and the soulful ache of Lucinda Williams.

Only "Pot of Gold" falls short of being a winner because honestly, no one on earth can make sub-Starship '80s rock sound good. The rest is darn good though, and shows that Rado has more ideas than one band can hold, and also the skills to turn them into little nuggets of weirdo pop gold.

Schizophrenic as Glow can feel, its severity shows that Fourgeaud is one of the most interesting, futuristic-minded artists in the game.

Stitches' ten quietly lustrous tracks dutifully reflect the arid Southwest vistas from which they were sprung.

Repave is anything but showy. It's a pretty type of album that washes over you, made up of slow burners that melt like hot wax.

Lead singer Duncan Campbell does a fine job on his second album after the departure of his brother Ali, and with inspired song choices meeting an inspired band, Getting Over the Storm doesn't come off as a gimmick but a gift.

While Parrish just about eliminates himself from the equation, this mix will appeal the most to fans of his work who know the funk, disco, and house stuff well enough but haven't traced back far enough to fully absorb an earlier, eternally vibrant form.

Pain Is Beauty isn't quite as cohesive as Wolfe's earlier albums. Regardless, it's exciting to hear her try so many new things and do them so well.

As inspirational as Bikini Kill's life-affirming blasts of punk could be, they were never as accessible and simply fun as the '80s synth pop modes of Run Fast, which somehow manage to be equal parts poetic, provocative, moving and enjoyable.

Love in the Future is among Legend's best work, made for couples who are into one another for the long term while feeling a little daring and crazy.

Sheff's willingness to strike a balance between his roots rock past and his personal past should please longtime fans and newbies alike, even if they spend the majority of the ride wondering why the tour bus never actually stops at the Silver Gymnasium.

Cuts like "The City," "Chocolate," and "Sex" drive and climb like the best anthemic '80s stadium rock, roiling a host of influences into a single distinct sound that, the moment it hits your ears, becomes timeless.

Not so much a grower as a slow-burning future classic, Forever points to even more exciting things from Holograms as they continue to challenge themselves and expand their vision.

Ultimately, while it's the hum of Allan's inner demons that drives most of the album, there's no white noise on Later...When the TV Turns to Static.