Though they won't repeat the trick, Diana plunder '80s-aping blog-pop and find surprising riches in a long washed-out gold mine.

There are enough unexpected moments--a nice peppering of saxophone, the gospel choir on "I Like It In the Dark" and the velvety hum of closing ballad "Un Chant D'Amour--to distinguish this as the best album yet by these sunglasses-at-night-wearing rockers.

The album's arrangements are the least complex they've been since Superchunk's early days, making these 11 tracks less immediately sticky than previous efforts. A bit more teeth would have made this one for the ages.

Most vividly, Loud City Song evokes the easy, tingling drift of early Robert Wyatt.

Raph's lyrics, meanwhile, dig beneath melancholia and insecurity to unearth beauty in the small victories of self-discovery.

What Whitfield lacks in originality he makes up for with a tireless push to the end zone.

The Wild Feathers makes a solid first impression, but if they can dial down the earnestness a bit in the future, they'll have a better shot at becoming the great American rock 'n' roll band they clearly have the potential to be.

The band's natural tendency toward tightly knit pop music, combined with an increasingly evident and more fully realized awareness of their strengths, makes Shaky Dream a great release.

This is no B.S. heavy metal and it makes you feel good, which is way more than many were expecting. And, no, the bass isn't embarrassingly loud in the mix.

Providing a counterpoint to the dark rumble of the remainder of the release, dBridge has crafted a record that traverses the emotional spectrum in its three tracks better than any other drum & bass release has in the last few years.

At times, the blend is less than palatable and, frankly, too busy, as on the title track. However, this franticness is occasionally contrasted by a song that manages to draw you in.

While Filthy might not be soundtracking any pool parties this year, it is one of the most vital releases of the summer.

Despite the barebones recording techniques and instruments--East German drum machines, a toy Casio and a Soviet-made Faemi organ, all recorded and overdubbed on primitive Tesla machines--the sounds on The Lost Tapes are immersive, complex and also difficult to classify.

Paracosm floats by like a wonderful dream, from which only the most jaded music fan would wish to awaken.

While there isn't much on display that will impress those with little desire for more of the same, genre buffs or fans of Counterparts' first two full-lengths will find the absence of filler and spirited momentum more than agreeable.

It's all very un-Explosions-like, but it works to not only create diversity in their discography, but also as a moody album that can provide moments of levity.

Raffertie attempts something a bit bolder with "One Track Mind," but the building, repetitive, tinny synths fail to gain a foothold, in comparison to the rest of the album. That aside, Sleep of Reason is an eloquent release.

The unlisted, sludge metal instrumental with crashing, crushing, demo-quality production only adds to the overall awesomeness and crazed attitude behind it all.

While the arrangements are relatively unadorned compared to the original versions, Campbell's voice is strong, and the overall results are a dignified last letter to his fans. There may be little appeal beyond that.

Joke in the Hole is undoubtedly Eric Copeland's strongest release, a cycle of songs that brazenly possess both structural maturity and childlike weirdness.

The result is distinctly Dead in the Dirt. Subtlety is not in the cards, so the faint of heart, or those craving even the most inconspicuous of melodies, should look elsewhere.

To put it into perspective, if By the Hedges was Minks channelling Joy Division, Tides End is more New Order ("Doomed and Cool," quite literally), in both its disposition and potentail to reach a wider audience.

Every bit as accomplished and rewarding as Simian Mobile Disco's recent work, Swisher is electronic music for the connoisseur.

With Hobo Rocket, Pond once again step out from an ever-growing shadow to prove that they are far more than anyone's "other band."

It's unfortunate, really, since without any of that baggage [professional separation], The Civil Wars stands as a powerful and haunting collection that exemplifies Nashville's current fixation with slickly updating traditional themes.

On II, Moderat have created an evolving piece of art that manages to both reference and reinvent their respective musical blueprints.

To the Happy Few doesn't feature many standout songs, but as a whole, it's a remarkably cohesive, often unpredictable piece of work.

This three-disc set isn't just a nostalgia-inducing reminder of Killing Joke's tremendous evolution since 1979; it also showcases the striking consistencies in the band's sound and ethos.

If you like Soilwork, this is the album you've been waiting over a decade for.

Technically flawless, but focused to a fault, Albert Einstein is further proof that Alchemist could benefit from a mistake.

This is a fantastic debut full of genuine warmth.

Mixed with poppy tracks like "Top of the World," "Pressure" and Michael Jackson meets Hall and Oates ditty "Ain't No Hat 4 That," it's evident that Thicke has created his most fun and mainstream-friendly project yet.

It's difficult to see another album topping Bakersfield as this year's best pure country release.

AlunaGeorge have done the impossible with Body Music: they've made the dynamic, progressive pop album we all hoped for.

As you can imagine, BE doesn't tread any new ground sonically, but for fans of the group, and likely Beady Eye themselves, it's a welcome distraction as we wait patiently for an Oasis reunion.

Rhythm & Blues is a late career milestone that backs up all of the accolades Guy has ever received.

Ambitious, experimental and brilliant, The Inheritors is a unique release that confirms James Holden's place not only as a DJ to watch, but also as a producer to pay close attention to.

Hardcore Bronson fans may need a little time to get into SAAAB Stories, but it's worth it once you do.

Letters Home gives something to write home about, bringing to mind Have Heart's swansong, Songs to Scream at the Sun, while simultaneously containing Defeater's best material to date.

Paradise is a record with a big personality that demonstrates how much your integrity as an artist informs your music and why that slippery qualification separates someone like Hood from the legions of lesser producers out there.

True Widow's newest album, Circumambulation, does a brilliant job of expressing the network of confused and sometimes dark emotions that make us human.

Slow Focus was solely produced by Fuck Buttons; a decision that shows how confident, individualistic and fearless this duo have become in a short time.

Melbourne is just the type of promising debut destined for a either cult following or a prosperous career.

The clashing of stoner and smart post-hardcore works wonders, while the crashing, booming production keeps things just clean enough for an extremely satisfying listen.

In his quest for comedic and artistic transcendence, Kaufman's intense pursuit of the "real" was, at the very least, unwittingly timeless.

Shaw's songs, in particular, sound like lost X classics. This switch in sonic templates doesn't blunt Bogart's rapscallion personality, though, which ultimately is what lies at the heart of his music.

Songs Cycled is a striking reminder of Van Dyke Parks' songwriting strength and deft arranging touch (see the reworking of his classic "The All Golden") for those already in the know; for others, it might just make the perfect introduction to a legend so ahead of his time that his 1968 masterpiece is just now getting its due.

While not every track bangs, the three managed to create a fairly strong record.

Spitting Fire does an admirable job capturing some of the sodden, smoky tones and wild, wretched energy the band wield in a live setting.

Bitchitronics is as gangsta as ambient music can get.

The end result is even more unhinged than expected, taking the underground approach of his many side-projects over the years, adding Pantera grooves and staying miles away from anything approaching Down in sound.

With this release, Locrian have created a gorgeous piece of musical architecture and filled it with unquiet ghosts.

On paper, the 32nd edition of the Late Night Tales seems like a wilfully difficult listen, but Röyksopp possess the musical gallantry to have compiled the first indispensable comedown DJ mix.

While Jonson may not take any big swings on Her Blurry Pictures, he does provide enough patient acid flourishes, nimble bass lines and restrained, yet forceful percussion to draw you into his new world view.

With Where Does This Door Go, Hawthorne's falsetto-inflected voice has become more commanding, his production more intriguing and his indie-soul aspirations have morphed into mainstream ambitions.

The result is an LP that manages to look forward while honouring the past simultaneously, which is no mean feat these days.

Joey Bada$$ absolutely deserves his position as one of hip-hop's rising young stars, he just needs to learn how to leave them wanting more.

Jay-Z co-opts and redefines current trends to reassert his ongoing cultural potency.

Although the album doesn't repeat a verse-chorus-verse-chorus-breakdown formula, it also lacks distinct or memorable riffs.

Waverly has a very consistent tenor that makes it a singular achievement, one that both creeps and soothes simultaneously.

Smith Westerns have never sounded so comfortable in their own skin.

This flow is a result of the group's ability to balance technical shredding and melodic atmospheric pieces; it is that sonic harmony that's responsible for the positive vibes resonating from The Migration.

This feeling of something ancient is instilled in The Sun Dogs, which possesses a strangely hard-to-pin-down sense of mysterious nostalgia, demonstrating that the creation of original music has not yet become a foolish ambition.

Fantasy is Lightning Dust's most consistent and cohesive effort to date, and is dreamy enough to live up to its otherworldly title.

The Visitor works as a great example of an artist honing his craft in reverse, expertly inserting his distinctive style into a tried-and-true blueprint.

While Wale remains fairly proficient throughout, that clever, memorable wordplay of old is what's most notably absent from this session, and that's a shame.

While the half-tempo sections and increasingly unique guitar solos differentiate this material from that of the past, Everblack ultimately falls under the shadow of its predecessor.

On Calling from the Stars, Miss Kittin's ambition comes off as both a blessing and hindrance; it's a cycle of ideas that unendingly feel very close to wearing out its welcome.

It only takes a few spins to detach oneself from the hype and respect the admirable groundwork laid down here for future greatness.

You can't fault µ-ZIQ for branching out of the staid EDM clichés that oversaturate the electronic music landscape, but unfortunately, Chewing Corners is a little too disorganised.

In the past, Femi has sounded just as vital and his playing just as powerful, but he's never done it in such radiant tones.

Deceiver of the Gods gives us everything we expect from the band, along with a little old-fashioned metal revitalization.

Tweedy has become a master of subtlety in the studio and the blending of instruments and voices is seamless. Above it all is Staples' unassailable conviction.

Montana's selection of trap beats falls flat. It's the kind of sweatshop beat-making mainstream producers have learned to accept as they cash their cheques.

Clocking in at just over 30 minutes, it doesn't overstay its welcome, but unfortunately it gives up most of its best moments by the halfway point.

The songs on Empire are still short, and while they retain the sunny aesthetic of Explore, they reveal a more motivated and confident Park.

This is easily Austra's most exciting and fully formed piece of work yet.

More Light is not only an all-encompassing trip that shows everything they're capable of, but also the best album they've made since 2000's XTRMNTR.

United by Madlib's crackly, jazzy samples, messy scratched hooks and bizarre sense of humour, Yessir Whatever is a gleeful trip down the rabbit hole of psychedelic rap.

Mac Miller emphatically joins a higher tier of rap artists with Watching Movies, an effort that at once silences his detractors and rewards his faithful following.

Do yourself a favour and cop this release. Rap is good nowadays, so indulge.

The payoffs on Kveikur aren't immediate, but they're no less orchestrated than previous work, coming across like a more focused and fleshed out Thee Silver Mt. Zion Memorial Orchestra with sweeter vocals.

Born Sinner is an honest account of Cole's growth and development, revealing his humble beginnings, challenging successes and bright future.

As with his previous output, regardless of the myriad influences in effect, you never once have any doubts you are listening to a Zomby record.

It's Kanye West baring his fangs, over-sharing and consciously grappling with this over-reaching, over-indulging beast within.

In joining the "real world," he's crafted his best album yet.

As with earlier releases, This River is a seamless mix of Southern soul, rock, funk and blues.

While there's nothing abhorrent about this album, it's so unobtrusive that it's practically not there, just one more forgettable release from a guy we're all secretly rooting for.

Baroque in complexity and dripping romantic drama, Altered State is a strong move in the right direction for TesseracT.

A daring and decadent series of witch rituals, The Eldritch Dark is one of the finest examples of the doomy occult-rock resurgence.

Retox promised devastation with Ugly Animals and have delivered it again, sharper and surer, with YPLL.

If more attention was paid to crafting better songs, rather than just sounds, Howl would have been much more fulfilling.

One of the very few bands that can combine melody with hardcore and make it pack a huge punch, BoySetsFire have crafted another excellent release.

The result is a perfectly flowing album that is, at times, as calming as it is chaotic.

The result is a fine summer pop record that encourages listeners to approach as they will.

While Tomorrow's Harvest makes for a wonderful listen, and a perfect gateway album for new fans, it's not the revelation many devotees were hoping for.

Dva is a calmly delivered artistic statement, one that makes a compelling case that Emika could earn the kind of praise currently lavished upon James Blake.

The surreal strings on "We Work Nights," the doubled percussion on "An English House" and the sultry, repetitive warble on closer "Reprise" give the release a much needed kick, but Half of Where You Live still lacks the strength it needs.