Vulnicura is a well-crafted antithesis musically and thematically, resulting in the most compelling effort she has put forth in years.

Chronology is a socially, politically and industrially aware effort, the work of an intelligent, savvy and ambitious artist who makes for an ideal genre representative to take reggae to its next global level.

The reason why Ex Hex Rips is so triumphant is that it easily attains its simple goal of presenting a total blast for the listener to savour. Or to take the title's bait, Ex Hex Rips rips.

From its weighty subject matter to its incredibly nuanced production, The Colour in Anything is not only Blake at his best, but also his most personal. Blake's expanded his both his heart and his process here, making music with others outside of his laptop to demonstrate the growth that had led to this brilliant, fulfilling work.

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.

Clark is anomalous but deeply rewarding. It's the type of release you could easily live inside for weeks and still find interesting nooks every single day.

Tyler has delivered a project that yet again pushes the boundaries of his music while simultaneously being a culmination of everything that he's done so far. It's yet another impressive outing for an artist whose reign doesn't seem to be stopping any time soon.

Experimental, textured, destructive, booming, progressive and at times disturbing, Hold/Still finds the tense, perfect middle between darkness and light, cold but burning hot with desire.

A deep, traversing album.

Magic closes with the majestic "Dedicated," as a sumptuous beat switch allows Nas to effortlessly change flows. This caps off an immaculate project that finds Nas regaining top form and will surely find its way close to the top of his illustrious discography, which is aging like fine wine.

It's an impeccable compilation.

The Murlocs have shown their skill at evolving naturally with little effort, and Calm Ya Farm sees the band putting it all together, upping the honky-tonk and honing their unique-yet-timeless sound more than ever.

For both Bedhead fans and casual record collectors, Bedhead 1992-1998 is a fascinating (and comprehensive) look into one of indie rock's great forgotten acts.

This reissue of the first two Bottle Rockets albums from '93 and '94 brings back with startling clarity how in tune Henneman was with the times, lyrically foreshadowing the decline of the middle class amid the rise of urban sprawl and taking well-aimed shots at unchecked racism and political correctness, all while leading his band like Warren Zevon fronting Crazy Horse.

Howling, for the Nightmare Shall Consume is a landmark release for long-time metal miscreants Integrity, and a brave, brutal new direction for Hellion's life project.

Ultraviolet is indebted to the charm of the natural world, but with it, Moran unlocks dazzling new ones in the process, keys jammed firmly between the strings of her instrument.

Free Your Mind won't surpass Screamadelica on any lists--it's far too much indebted to both that record and era--but you'll have a difficult time finding an album in 2013 that's as utterly energizing and sublime as this.

Skullsplitter is a triumph of post-modern songwriting, where decisions can be recast and repurposed to suit the needs of the present.

An intoxicating mix of celestial soul, sprightly funk and glossy, luxurious rock'n'roll, Apollo XXI is a self-assured and sonically robust exploration of love, lust and identity politics. Lacy scatters pearls of post-adolescent wisdom in the lyrics, and drives the album forward with infectious melodies and an angelic falsetto. But Apollo's chewy production is where Lacy makes his mark.

With Crack-Up's earnest explorations of the human condition and evocative, progressive composition, Fleet Foxes maintain their status as one of the best folk rock bands of the 21st century.

One of the best Americana records of the year.

Pylon is sweet 16 for these 50-somethings, and honestly, it couldn't be sweeter; Killing Joke are still promoting the driving dynamics of post-punk, and still doing it better than the rest.

Horny, outrageous, delicate, queer and poised to rip flesh at any moment, Pirouette is the sound of a band at the height of its powers.

It took three records and 10 years for the band to refine their sound within the recent shoegaze renaissance, but The Great Dismal is without a doubt one of the genre's modern classics.

Embers could (and should) start over then, urging all software to "repeat all" and every DJ to throw side one back on the bed of coals.

Michael may very well contain the best material Bundick has released throughout his already stellar career.

While it's tough to imagine Whitechapel ever topping This Is Exile--one of the most important deathcore albums ever--this record is an extremely close second. The Valley solidifies the band in their current musical direction and is easily Whitechapel's most diverse and well-composed album.

Hell-On is incredibly dense and eclectic; each moment sonically plays up Case's lyrics and her inimitable delivery--which can turn from tough to vulnerable, to casually wry and to siren-esque within a few lines. It's chock full of delicious attention to detail.