Dépaysé is for fans of Sinkane; new listeners might stop for a minute to appreciate the vibe before moving on.

As Benton shifts his focus from big rock choruses to a grounding, direct connectivity, Lost in the Country cements Trace Mountains' evolution into a type of modern Americana.

English Oceans, their 12th album in 17 years, confirms they've lost little of their potency, despite major personnel changes over the past decade.

First Ditch Effort doesn't match NOFX's '90s peak, but it rights the ship somewhat, and goes a long way to re-establishing the group as worthy and relevant elder statesmen.

Much loved indie group British Sea Power have returned with a collection of songs that showcase the strongest elements of their music, giving listeners space for contemplation while also bringing a healthy dose of high-energy rock. Exquisitely crafted.

Fuck Off Get Free We Pour Light On Everything is the most personal outcry of righteous indignation they've mustered. The result is something for a broader audience of like-minded people constantly muttering 'What the fuck?' at the world at large to connect with.

Bizarrely infectious and never dull, this album of anarchistic yet spiritually reverent psychedelic experimental ragas is well worth checking out.

Castle is the lone musician on Monarch Season, playing guitar, piano and harmonica, and the songs thrive in this quiet.

Here's one of the best records you'll hear in 2014.

The Waterfall changes that trend. If you like your rock records weird, funny, epic, sad and hazily spiritual, this is one you won't want to miss.

The more cerebral, out-there music fan may find it all too easy, craving the satisfaction that comes with gaining an appreciation of music that's challenging to the ear. Most, however, will rejoice; as should you, because FORGET is overwhelmingly and immediately Xiu Xiu.

Smart, forceful writing continues throughout as Benny's deliberate delivery slices through the horns of "Throwy's Revenge" and the frenetic synths of "Guerrero." Usual suspects Boldy James, Conway the Machine, 38 Spesh and Westside Gunn drop by, adding welcome vocal texture to Benny's predictably clear and metronome-like cadence.

At this point, Glasper, along with bassist Derrick Hodge, saxophonist Casey Benjamin, and drummer Mark Colenburg, are a well-oiled musical machine. As the Robert Glasper Experience, the quartet embrace jazz as they steer the genre into exciting directions.

UMO definitely have hit their stride with this record, solidifying their place as one of this era's premiere groove-rock bands.

Next Thing is more likeable than moving, neither as intimate as her strongest bedroom recordings nor as revelatory as Zentropy.

While VanGaalen avoids profound lyrical observations, his worldview remains one in which listeners can lose them themselves.

Deeply personal yet accessible slice of soul music.

It's thrilling and moving to hear Lund indulge his serious side on this gorgeously forlorn new LP.

While the band challenge themselves, occasionally blindsiding fans too ("Caterpillar" is a demo that only features Edkins), there's also a reassuring aspect to the calm confidence of METZ here, though they find themselves in a lost world.

Maribou State's new LP delivers a musical mosaic that stays true to the roots of downtempo, while exploring new ground through diverse influences and styles.

Sd Laika seemingly bucks myriad electronic music trends to create a body of work that harkens back to the genre's classic beginnings.

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

Enslaved have hit a sweet spot with In Times, experimenting just enough to keep everything interesting while also offering up pure aggressive pleasure so decadent it seems almost indulgent.

It is a well-conceived and delivered piece of work, but perhaps unavoidably one that feels the absence of its staged elements.

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.

Despite simple song structures and repetitive riffs, the personality of the vocals keeps the album from falling flat. Rhythmic shifts, cartoonish keyboard appearances and surprise instrumental breaks make it hard to get too comfortable.

The narrative of Dance on the Blacktop is a hard-to-swallow reality check, but flourishes in the closing "(Hope) Is Just Another Word with a Hole In It." Nearing six minutes, the song is ambitious and rewarding. When Palermo's vocals and piano come to fruition in the mix, there is a sense of optimism, as though he might be smirking at his demons.

Taken as a bit of a lark, Skye's I<3UQTINVU exists as a bag of mostly disposable — but exciting! — what ifs. Without the grounded warmth of Ellery's songwriting, the album has the perhaps unintended effect of sending us back to the originals to appreciate the duo's more controlled creative alchemy.