Condon spends much of Rip Tide writing in first person, and it lends an air of much needed intimacy to the always gorgeous, yet historically elusive Beirut sound.

The essence of the music might be simple but the band squeezes remarkable emotions from it. The new world order of psychedelia is here.

While it doesn't break any new ground and remains firmly entrenched in contemporary country's geography, it evokes the riled-up, bluesy hard country rock sound of Hank Jr. enough that it separates Church from the genre's other practitioners who are attempting the same thing.

Ultimately, The Cosmic Birth ... is a further step in Akron/Family's already expansive musical journey; one that will no doubt delight fans and should turn on novices in droves.

[Thurston Moore's and Beck's] collaboration lives up to its promise, delivering an album of psychedelic chamber folk that is the perfect meeting of both artists' mellow sides.

Peanut Butter ... might be just a little too left-field to capture the zeitgeist in the same way that Skinner did a decade previously, but it's a hypnotic and ultimately rewarding debut which, along with recent efforts from James Blake and Jamie Woon, proves that the words chill-out and challenging don't have to be mutually exclusive.

It's an excellent introduction to the modern Western Saharan sound, and also a fine addition for existing fans of the group.

Losing Sleep is a heartwarming tribute to Collins and a statement that, although he's still on the mend, he's still got a lot more to give.

Jarosz's talent is wondrous and in no way normal, and her developing musical maturity continues to be a wonder to watch.

Several cuts are instrumental workouts, unpredictable and flagrantly noodle-y. Others venture into tranquil folk-soul and soft jazz-pop; for all the animated instrumental flexing on display, it's those atmospheric and simpler songs that move the most.

There aren't quite as many standout tracks this time around, but there are no real low points to speak of, and there's plenty to enjoy, especially from a beat programming standpoint -- or, even more especially, from the center of a crowded, sweat-soaked dancefloor.

On the surface of things, this is a bit of an odd task, taking left-behind lyrics from one of the great songwriters and breathing life into them. But nobody here seems intimidated; they seem honored -- and there are some pretty good songs that come out of the project.

The experience of The Director's Cut, encountering all this familiar material in its new dressing, is more than occasionally unsettling, but simultaneously, it is deeply engaging and satisfying.

Wild Flag isn't just an exciting debut and one of 2011's most dynamic rock records, it proves that a group is truly super when the personalities involved work together and have fun.

Front to back, Relentless, Reckless Forever is probably the most consistent Children of Bodom release yet.

At the Crossroads delivers what its title promises: a portrait of the Organ Trio at the point where they look back at B-3 jazz history and move it ever forward.

There's plenty of weird, surrealist fun to be had on their debut album.

The second half is dominated by ballads made for seduction (with more than a little preening). They don't offer much in the way of development from Thicke's recent past but they should get the job done.

Field Songs is Whitmore's masterpiece thus far: unflinching, stubborn, demonstrative, and inspiring.

While Last Summer has enough ties to her work with the Fiery Furnaces to please fans, it gives Friedberger the time in the spotlight she deserves.

Those looking to rock out won't find many headbanging opportunities here, but Nothing Is Wrong works well as driving music, particularly if the scenery outside your windshield matches the sepia-toned music.

The whole thing is designed for instant pleasure (or immediate repulsion), even when the titles evoke treacherous levels of a fantasy video game.

Paisley's determination to keep This Is Country Music lean and lanky does mean it's not as wily as his other records, but his consummate skill as a musician and big heart are always evident, always keeping things compelling.

Such a well-built slab of indie rap that a four-year wait seems well worth it.

With its slow, even pacing and spaciousness, As High as the Highest Heavens and From the Center to the Circumference of the Earth is a fantastically understated piece of headphones-ready post-rock goodness that will draw you into its depths with deceptively simple arrangements before trapping you in its sludgy melodies, making for a fantastic follow-up from this promising band.

The Harrow & the Harvest is stunning for its intimacy, its lack of studio artifice, its warmth and its timeless, if hard won, songcraft.

As alluring and dreamlike as anything from Willner's first two full-lengths.

With any luck, Pistol Annies is not a one-off for the trio, but rather a regular gig: this is too much pure fun to not repeat.