Like the colourless photo of a near-anonymous Swift that adorns the album cover, it casts an artful pose but doesn't have the guts to look the listener in the eye.

No Grace is a short and concise album that's quick on its points: do your best, don't give up and have some fun.

File the album in your new classical section, primarily because of Simon's world-class technique. But given the instrumentation, it could just as easily be marketed as an ambient or jazz album. It would be no less great a success.

Stargate Music is a brilliant addition to the outpouring in the L.A. beat scene, a beautiful amalgamation of raw experimentation and sound fusion that raises this concept album well above others who have come before.

Texas Sun is a cool side project that is able to exist on its own without the pressures that critical acclaim has brought to both artists.

Here is empowering at times--it's strong in craft and intent, and will likely perform well--but the hope that Keys will deliver that iconic, instant classic album continues on.

While the first half of Power Of Anonymity subtly effaces any semblance of her live sets, the bottom half thankfully picks up the pace and salvages what could have been a very straightforward, if not dull, dance floor-aimed release.

It makes for a record with some distinct highs and lows; when it works, it is a lovely shimmering thing that amply demonstrates just how precious Flying Saucer Attack were and still are.

Nothing feels forced; rather, the album gently unfurls at a languid pace. DeMarco remains the relatable everyman, his laidback delivery happily coexisting alongside his ever-present mastery of the titular instrument ("Rock and Roll," "Holy").

Dulli has spent his whole career as a shape-shifting storyteller and Random Desire sees this continue. While most of his remaining '90s contemporaries have become self-parodies, Dulli continually finds ways to explore the hidden pain of the human experience.

So Joy Comes Back might be on your shopping list, especially if you're already a Ruthie Foster fan, but take this advice: It's only half a great album, so keep it on the B side.

Never too bitter or too sweet, these songs are bursting at the seams with casual urgency, an intoxicating counterpoint to the songs' melancholy.

Deferring away from minimal guitar licks and harmonizing multi-part vocals, their new breezy and open sound is more energetic than ever, creating music that continues to reflect where they are in their lives.

Pollen's deep cuts can't quite rise to the same heights as its singles, though they maintain a similar mood and prowess that gives the album life beyond just a couple music videos or haphazardly-ordered playlists. The main standout buried beneath the surface is the stunning "Gibraltar."

Album number five, Sugaring Season, is her purest work yet, stripped right down to the bare essentials and, as a result, it fits perfectly on an English folk timeline.

Despite such inclinations towards the jaded and cyclical at times, Out in the World boasts enough latitude and flexibility to hook interest.

Changephobia might not necessarily win over skeptics, but it's the most coherent vision — lyrically and sonically — of Rostam as a solo artist so far.

While Sings Christmas Carols could provide any miserable person some relief at Christmastime, it also works nicely for anyone who loves these songs to hear someone other than Michael Bublé or Justin Bieber sing them.

Clairo's stylistic variability sets her apart from these artists however, and while some more time and resources wouldn't be unwelcome on a sophomore effort, Immunity confirms she's one to watch.

Just consider it a solid project from an artist who, after creating albums since the late-90s, is finally getting her recognition in front, instead of behind the curtain.

The absence of track titles sometimes forces the listener to reach further into the album's alien sounds, but as Ultimate Care II hits the five-minute mark the novelty wears off and absorption into the composition's overall mood takes place, as Matmos do a terrific job of blending the album's noises (which ranges from water sloshing to lids slamming to knobs grinding) into a captivating whole.

The Mosaic of Transformation is a generous record, a gift from Smith to those who need to lock into their body, to move quietly and deliberately.

Groove Denied isn't the game-changer fans hoped for, but it's also not the disaster Matador expected. It's just your average Stephen Malkmus album... now with more electronics!

While Ghost on Ghost is outstanding in places, it's too uneven to hold up to Beam's best work.

Willowbank is a mature album of exquisite beauty that confirms Yumi Zouma as masters of musical storytelling.

Their third album, End of Suffering, feels less like a compromise between two sounds and more like a cohesive band.

They've given listeners a sense of what they could be if they really stepped outside of it here, and quite frankly, a little more could go a long way.

Bring Me the Head of Kyle Bobby Dunn is Dunn's best work to date, consisting of a solid two hours of minimal, emotive, ambient drone that should appeal to fans of Stars of the Lid and Brian Eno.