Love ‘em or loathe ‘em, they provide the clearest picture of what Gira and Swans are trying to do.

With this supremely supple and joyous display of early innocence and promise, Aztec Camera showed they already come into their own.

Not flawless, but damn it’s still a fine effort from beginning to end.

Interesting juxtapositions proliferate, but Ava Luna often seems to be pursuing oddity for its own sake. The best cuts here are the most unitary.

On the second album by Minneapolis four-piece Howler, an energy level worthy of forebears the Replacements, Soul Asylum and even, in places, Husker Du is dialed up, making such tracks as the thrumming/thrashy “Indictment” and the hardcore-tilting “Drip” buzz around the listener’s head like so many hornets.

Lack of predictability appears to guide Finn’s pursuits, making for a white knuckled ride all the way.

Modestly presented but appropriately self-confident in its dedication to craft, Hendra is a low-key but sturdy delight.

While this isn’t an earth shattering album, it is a solid one which serves as a reminder of what a talent she can be when she decides to get in touch.

His vocals are delivered with such breezy casualness, you almost miss the poetry in the words. Pair that with the brilliant musicianship and it’s simply confounding that Bare and his band aren’t as big as groups like Arcade Fire and My Morning Jacket at this point.

All of Mess has an enjoyably menacing feel that will prove inviting to Liars fans and new listeners alike.

Albarn has just unveiled quite arguably the best album of his career--solo or otherwise--with Everyday Robots.

The result is slightly uneven, but ultimately has some fantastic songs on it.

Though the band seems to have packed all of its musical interests and abilities into the album’s 11 songs, this is a most likely only a sampling of their capabilities and of the colorful ideas yet to spring from the mind of Jocie Adams.

Some of the songs here are better than others (even with more than four decades of hanging out with everyone from Willie Nelson to Keith Richards, there is only so much cred you can breathe into a Paul Anka song), but there is hardly any track here that hasn’t earned the right to stay.

They still have that dirty, carefree, uncompromising vibe, but on Underneath the Rainbow it’s able to be tamed, morphing into melodic garage rock that’s as catchy and easily digestible as it is rugged and in-your-face.

Granduciel’s songs envelop you. As soon as you understand the lyrics for one song, another song buries words in hushed reverb.

Rarely do mistakes of one’s youth sound so beautiful.

While this is Hurray For The Riff Raff’s strongest record to date, it’s doubtful this is a peak. Keep Segarra on your radar.

This is the best punk rock record you’ll hear this year--never mind that it’s not wholly or even really a punk rock record.

Oftentimes, it’s an odd juxtaposition, and one that isn’t always in sync.

With Tarpaper Sky, he can clearly claim one of the finest albums of a sterling 40-year career.

Since only 42 seconds of the album is new material (the opening self titled track), it can, at times, feel redundant, almost unnecessary, but, with a musician of Claypool’s caliber, to see boundaries being pushed--and classics revisited--there is obvious value here. And, at the very least, it’s a hell of a lot of fun.

Along The Way sounds remarkably fresh and vital, in fact, the mark of a gifted musician trying to incorporate his philosophical yearnings into a concrete manifestation that can be shared at will.

Lyrically, the album is pretty mediocre, but the band has always seen their playing overshadow the words; Black Beehive is no different.

At a half hour, Too True might seem brief, but Penny makes the most of every minute.

The rest is a mix from great (Glen Hansard’s “Pressing On” and Deer Tick’s “Night After Night”) to the not so much (Aaron Freeman’s “Wiggle Wiggle”).

There’s little doubt Here Be Monsters will one day be considered the album that ensures Langford’s legacy.

The Take Off and Landing of Everything is another fine release from a band that has yet to steer wrong.