Everything but the Girl fans might miss the duo's dancey leanings, but Thorn proves that her voice is enough to transcend genre preferences.

A couple of tracks feature liberally processed vocals, but the singing acts less as a melodic agent than as one more source of instrumental texture.

Balancing these cheery influences with the melancholy prose is the name of the game. The lively accordion and clanky piano on the song "Shadow People" recall Bob Dylan's 1974 country-folk single "Forever Young," but the cheerfulness seems to contradict Dr. Dog guitarist/vocalist Scott McMicken's strained lyric: "It's the right time for the wrong company."

As always, though, Streisand sings the material like it was written expressly for her, elongating phrases at will and slowing most of the tempos to a luxurious Old Hollywood crawl. What matters most? Babs' bliss.

No matter the mood and tempo, though, the Florence & The Machine heard on How Big How Blue How Beautiful is a newly self-aware one. It shows a different kind of mastery by allowing for a different kind of vulnerability, an especially delicate balancing act for a young woman in pop music.

Annie steals listeners' hearts with her light-as-a-feather vocal delivery and infectious beats.

Nestling welcomed experimentation among familiar tunes, Beam is hedging his bets with Kiss Each Other Clean.

A tight, spirited follow-up to 2010’s bluesier, less essential Mojo.

The new album is a testament to Henry's singular sonic vision and a masterful mix of history and mystery by an industry veteran who sounds like he's just getting started.

Red is her most interesting full-length to date, but it probably won't be when all is said and done in her career.

Thanks to [Lorde's] vision, and her grip on the series' most important thematic elements, the 50 minutes of music behind Mockingjay Part 1 ably function as both a glance at 2014's finest purveyors of complex, downcast pop and a complement to the start of the series' chaotic, brutal conclusion.

The stripped-down songs on Terrible World--guitar-driven variations on God-fearing gospel ("Carolina Low") and Laurel Canyon country ("Lake Song")--are its best. After years of extravagance, dressing down turns out to be The Decemberists' strong suit.

The music is digital and danceable but with emotional depth--much of it thanks to Mayberry.

The 12-track set plows some new ground for Little Big Town, from the way Karen Fairchild and Jimi Westbrook's duet intertwines with the group harmonies on the title track to the traditional country flavor of "You Can't Have Everything" and the bluegrass tinge on "Little White Church."

The track "Water in Hell" is an anthemic rocker with a catchy, shout-along chorus ("From what I can tell/There's water in hell!"), and "Forced to Love" combines the band's usual grit and a hook that unexpectedly sticks, similar to "Cause = Time" from its 2002 breakthrough release, "You Forgot It in People." Strangely enough, the new album's less pop-driven songs are hit or miss.

Don't let ["Accidental Racist"] dissuade you. Paisley still knows how to have a good time and standout singles "Southern Comfort Zone" and "Beat This Summer" continue to showcase this.

I Never Learn is a brave album--it could very well alienate more fans than it brings in. But Li's songwriting is exquisite in its vulnerability; she has never sounded more sure of her aesthetic than she does in her most miserable moment. Like Beyonce's self-titled LP last year, this is a "grown-woman" album, but one focused on the sobering end of youth rather than the blissful beginnings of adulthood.

Food is just as tangy as the concoctions Kelis whips up every week on the Cooking Channel, in spite of the stylistic departure from her R&B albums like "Kaleidoscope" and "Tasty" as well as 2010's dance-focused "Flesh Tone."

The Truth About Love is a peerlessly witty, endlessly melodic tour de force.

A handful of tracks strewn with cheesy metaphors shows the impersonality that mars Cuomo's post-Pinkerton songwriting, despite some redeeming musical qualities that reaffirm Weezer as a purveyor of feedback and fuzz (particularly "Cleopatra," a great rock single if you ignore the lyrics).

El Pintor succeeds in besting 2010’s Interpol, whose reception was so deflating, it could have killed the band’s career. But against even 2007’s ho-hum Capitol Records excursion Our Love to Admire (let alone Turn On the Bright Lights or even Antics), El Pintor fails to do much more than tread water.

Mostly known for delivering folk-punk anthems, Against Me! delivers a no-fuss rock collection with its latest release.

With lyrical themes of global economic distress and romantic bliss, British pop-punk band the Futureheads bring a more refined sound to its fourth album.

A welcome, long-awaited return after a troubled hiatus, but it hums along comfortably without striking any innovative poses.

There's a musical and rhythmic uniformity among these 13 tracks that might lose ears beyond the album's brisk 29 minutes, but it reflects a consistent summer ambivalence to which most anyone can relate.

Icelandic post-rock band Sigur Ros may be on an indefinite hiatus, but the group's enigmatic singer Jon Thor Birgisson, better-known as Jonsi, is filling the void with his first solo album, "Go."

Austere and melancholy, dealing mostly with heartbreaks and farewells with a modicum of hope, new album "Paper Airplane" still conveys the rich and understated beauty that's always been the group's trademark.

Seven-inch obsessives probably could have seen the debut's tangy intensity coming, but for rock fans unaware of Reatard's history, Watch Me Fall is a welcome surprise.

Splicing sounds and rhythms that sometimes complement and often compete, "Oversteps" creates an evolving harmony built on its own continuous assembly and breakdown.

Not every track on Another Round may be a winner, but Jaheim remains a welcome oasis in a desert of Auto-Tuned voices-and a beacon for the next generation of soul.

Blitzen Trapper again channels a variety of sounds from the '60s through the '80s to meld its own genre on its latest release.

Crystal Castles aren't as cold as they appear to be, but they are calculating--(III) is an expertly produced album that, at just nearly 40 minutes, leaves fans wanting more.

Stuck on Nothing works well as a no-nonsense party album, but Free Energy shows tremendous promise on this debut.

On their second release No Mas, cousins George Langford and Tom Van Buskirk stake their claim in the world of electronica with an everything-but-the-kitchen-sink approach, yielding infectious but often mind-boggling results.

On the impressive Sour Soul, the Canadian trio that built its profile through Odd Future and Gucci Mane covers bangs out rich blaxploitation-invoking live instrumentals, providing a perfect canvas for the Wu-Tang Clan vet's vivid rhymes about dodging police, jewelry and, oddly enough, yoga.

An exhilarating, life-affirming blast of no-bullshit rock'n'roll, Street Songs of Love features Escovedo reteaming with famed David Bowie/T. Rex producer Tony Visconti, who also manned the boards for his arresting 2008 album, "Real Animal."

It's 'party of one' music to overthink with and lines to quote when angry at a significant other--the soundtrack for hard times.

For all of the sonic pleasures, much of At.Long.Last.ASAP’s narrative is hard to swallow with a thinking mind--which makes it hip-hop at its finest, and its worst.

This Atlanta-based R&B crooner has utilized the extraordinary sweetness of his voice to get away with plenty of lines that would sound irredeemably sleazy coming from other singers.

On her fifth album, Body Talk Pt. 1, Swedish electro-pop singer Robyn proves she's ready for the dancefloor.

Those who have witnessed the group's floor-shaking live shows might be a bit disarmed by the deliberately dense and lo-fi production of "Boys & Girls."

On this adventurous LP, the critically lauded Scottish sextet waits until track nine, "Ever Had a Little Faith?," to offer one of its patented gently strummed character studies.

The 10-track set barely has a weak moment and actually ends too soon. It's like '90s alt-rock had a child who suddenly grew up beautiful.

The band's current six-member lineup, together five years and responsible for 2007's stunning "Sky Blue Sky," is its strongest to date--and Wilco (The Album) is as well-rounded an effort as the group has released.

Full of attractive instrumentation and unfalteringly charming lyricism, Bonham's collection brings a sophisticated quirkiness to the femme alt-pop table unseen for quite some time.

The chaos is nothing new for Say Anything, but the band's newest release is tightly executed and gives fans a deeper look into Bemis' clever mind.

Toby Keith has been writing and playing country music long enough to know every one of its conventions-and how to twist them around.

An album that required a painstaking process to complete but sounds infinitely effortless in its pop arrangements and flicked-off soul ruminations.

With 1989, she expertly sets up the next chapter of what is now even more likely to be a very long career.

Even as his piecework band stretches the sound in unexpected directions, Lidell--like a peculiar cross of Prince and Otis Redding--remains confidently true to his soul vision, creating a tense musical discourse that wrings raw emotion from each eclectic track.

Bluesier and less electronic than its predecessor, "Blood Pressures" is by far the Kills' most accomplished and diverse set yet.

The departure earlier this year of keyboardist Franz Nicolay means less Springsteen-like keyboard embellishments, but the group's Everyman quality remains intact thanks to vocalist/guitarist Craig Finn's straightforward lyricism and lead guitarist Tad Kubler's signature swells.

This rock supergroup delivers by drawing upon each member's talents and creating a sound that's refreshingly singular and remarkably fun.

Taking a page from the George Strait playbook, country music newcomer Easton Corbin displays excellent song sense while offering an easygoing vocal style on his finely crafted self-titled debut album.

The journey of its latest change has been bumpy, but by blending its storied past with the musical present, Queensrÿche's members prove the band as a whole is indeed greater than any one person.

And yet: that voice. On 25, the material is occasionally inspired, sometimes dull, but always serviceable--and with Adele, that’s enough.

The album builds on the pair's impressive collaborative EP with Robyn, Do It Again, reinforcing that project's themes of legacy, repetition and dedication.

Arctic Monkeys have captivated the post-Britpop scene since their 2006 debut, but Humbug finds the group justifying the hype by shifting its best qualities into different, equally dazzling shapes.

Unbreakable is the mature album, free of commercial ambition, her all-too-breakable brother never made.

About half of them work, though which half might depend on your love or tolerance for the players involved.

Although the set's complex instumentation finds BLK JKS occasionally losing their footing, their confidence in their craft largely covers up any glaring errors.

Toronto MC Drake has said that he wants fans to feel the different layers of his debut, Thank Me Later. From the sounds of it, he's held little back, sharing with listeners his deepest thoughts on family, women, and fame.

Save Rock and Roll contains some head-scratching collaborations, including link-ups with Big Sean and Courtney Love, but even those that fall relatively flat are still positive indicators that Fall Out Boy are back to having fun, stretching their legs and taking risks.

The broad spectrum of genres Merchant explores also prevents the set from feeling overlong. She has returned with a painstakingly constructed record that feels light and nimble, a credit to her still-impressive talent as a songwriter.

The music is more subdued than My Chemical Romance's, but Way's still not as understated as the influencers he's channeling. His storied themes of love and pain pop up throughout Hesitant Alien like embarrassing Facebook statuses. It's a largely smooth transition out of the dark and into the bright world of pop.

On its eighth full-length release, Glasgow, Scotland, indie pop group Belle & Sebastian ditch their sad-vibes-hidden-by-happy-melodies schtick in favor of legitimately upbeat songs.

Perhaps more than any other young hitmaker, Charli has a sound that is distinctively her own, despite the murderers' row of producer-songwriters onboard.

For its third album, Expo 86, the band tempers the musical diversity of its predecessors and focuses more on standard rock fare.

It took the Black Crowes seven years to release last year's "Warpaint," but now that the Robinson brothers are back in the studio album business, they're making up for lost time.

Its new studio album, Tornado, seems designed to demonstrate that stardom hasn't separated the band from the backwoods roots it famously celebrated in the song "Boondocks."

The Toronto-based collective goes all out on its third album, Latin, which features lead members Brian Borcherdt and Graham Walsh's spacey keyboards and effects supplemented by the powerful live drums and bass of their touring personnel.

Through it all, Finn's durable songcraft never fails to enthrall.

The Documentary 2, succeeds by reminding you what made the original so memorable.

Crazy Love is another step in Buble's creation of his own kind of songbook, and there's nothing necessarily crazy about that

It all sounds amazing on the first couple of listens, but the wheat (songs like the title track and “Did You Know?”) separates quickly from the chaff. Regardless, The Scene Between opens up a whole new lane for an artist that would have been easy to write off.

Throughout Stronger With Each Tear, Blige solidly reinforces why she endures as a fan favorite.

Long.Live.A$AP may not change the game like "good kid, m.A.A.d city," but A$AP Rocky's absorbing debut is more physical in its pleasure--as in, you'll be knocking your head to some of these songs for months.

Just like with the Troubadour release, the songs here touch a few nerves and hit a few more emotional spots than just merely the ups and downs of a male-female relationship.

None of the new spice here is likely to change anyone's mind about who Bad Religion is or what the band does. But you have to admire these guys' determination to keep things tasty.

How About I Be Me (And You Be You)?, is a slap-upside-the-head reminder, a collection of heartfelt confessionals, evocative insights and provocative position statements.

It's indeed better the second time around, no matter who's running her down.

Romance Is Boring would be better-served with more of the diversity that's found on these tracks. But those without dates on Valentine's Day should find some cheer in this danceable collection

One of the year's most anticipated pop releases is also one of the genre's weirdest--and most fully realized--efforts in ages.

We come to "A Wasteland Companion" with certain expectations. Happily, Ward meets them.

Martsch has hinted that There Is No Enemy could be the band's final album. If that's the case, the set's multifaceted melodies and experimentation would be an inspired sendoff.

Tempering heavier blues-alternative influences with a softer folk-rock feel, Broken Side of Time leaves an unmistakable mark.

Hawthorne Heights' rediscovery of its heavier roots may be what longtime fans have been yearning for, and also what the band needs to recover from past personal struggles.

In the rural wasteland of southwestern Texas, producers Dave Sitek (of TV On The Radio fame) and Nick Launay brought life to an album that's challenging and conceptual, yet also playful and raunchy.

For sure, Sabbath, Zeppelin and more obscure bands of the era like Wishbone Ash loom large over the proceedings, but Arbouretum breathes new life into a long-dormant genre with its melodic flair, the freshness of its approach and the tastefulness of its playing-and to call a band whose average song length is six to seven minutes "tasteful" is no faint praise.

At its best, a truly next-level soul album. One that has the warm, organic feel of R&B and deep pop hooks, but also the pulsating low-end and shimmering keyboard flourishes of EDM.

The uplifting set includes takes on lost gospel and blues numbers as well as reworkings of Bob Dylan's "Shot of Love," John Lennon's "I Don't Wanna Be a Soldier Mama" (featuring guitarist Doyle Bramhall II) and Prince's "Walk Don't Walk."

The quietly brilliant set translates the dance-rock explosion through the lenses of two guys who have lived the dance scene from the beginning.

Rihanna may have been a good girl gone bad on her 2007 album, but on her new one, she's a good girl gone bad-ass.

The most obvious distinction from past releases is the richly textured soundscape of unusual tones that Metheny harmonizes with on with his guitar.

Even those who felt lukewarm to Tegan and Sara's past few efforts should fully embrace their dazzling pop rebirth on Heartthrob, one of the best LPs of this young year.

The group's poppy guitars and thick, layered vocal harmonies occasionally improve upon some selections of the vastly diverse material.

Stronger, Sara Evans' first studio album in six years, is proof that some things are worth waiting for.

The 19-track album drags a bit in its latter half, but Boosie smartly saves its emotional climax for the devastating closer, "I'm Sorry," on which he ­apologizes one by one to everyone he neglected during his prison bid.