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.