Half Free is both a revelation and a breakthrough, one that finds Remy elevating her songwriting panache while carrying a certain mysticism that seems grounded in both plausibility and commonality.

It’s definitely going to be divisive, this album – there are some who simply won’t welcome this definitive stride away from the electronic psychedelia that’s been the Boards’ purlieu for so long.

When they let loose, like on the more intricate Bell Wheel, Darcy reminds us why he's such a compelling vocalist when he shows a more playful side. While they have their songwriting down to a science, Cola could elevate their craft with a little more disruption.

Yesterday and Today is a brilliant sequel, one that retains the strongest elements of its predecessor whilst bravely pushing forward into new territory.

There’s something hauntingly beautiful about the way these tracks morph and evolve over their fairly short lifespan.

Ultimately, a surprisingly successful mood piece, there’s a lot of fat to cut through--but this actually becomes one of the album’s more winning attributes.

There are areas of the record where moments become a bit looser and less infectious, but generally this is a strong debut.

Akron Family II: The Cosmic Birth and Journey of Shinju TNT isn't a big departure in that respect, but it is a more polished affair than any of their previous attempts: most of the songs seem to follow a more established structure than the wayward jams of old.

Some of Wanderer is, frankly, quite dull, even if her irresolute darkness can still engulf your senses upon closer inspection. Marshall keeps us at a certain distance as if gazing into an incomplete photo book, leaving too many empty spaces to fill when there are so many other stories to tell.

Neko Case hasn't produced a disappointing solo venture yet, and between "Fox Confessor Brings The Flood" and Middle Cyclone, her recent production is the strongest of her increasingly beautiful catalog.

An overwhelming sense of fun pervades First Taste, as further epitomized in a couple of wacky drum solos that are so maniacal they'll bring a smile to your face. All in all, Ty Segall's obviously having fun as a result of being chiefly interested in entertaining himself.

The album as a whole has that feel; it's perfect late night or Sunday morning music, though this might damage its broader appeal.

The end result is an album full of tracks that sound so warmly familiar that they instantly seem like old friends.

Despite not taking any drastic leaps, he’s once again delivered another wide-eyed, hypnotic set that finds a satisfactory compromise between quasi-ambient soundscapes and headphone-nodding grooves.

An eight-song trove of volume, emotional density, and social critique, its commonalities with sounds cultivated by labels like Touch & Go and Amphetamine Reptile not so much evidentiary of retread as they are respectful and refreshing pulls from an era of dissonant rock plentitude. ... Noise rock excellence.

[Sadie Dupuis] leads from the front with an outrageous level of assuredness and a delightful penchant for a hook.

A raw, yet purposeful execution that never spoils his clear-headed grasp.

Finn is operating at a whole new level of finesse here, and gifts us something truly beautiful.

It's a familiar, though still firm, return.

At 58 minutes, it does run a little long—and I probably would’ve cut songs like On Track or the two-minute flatliner Glimmer. But every time I’ve started this album since it clicked with me, I’ve finished it. Isn’t that the most you can ask of any record?

Clocking in at a brisk 28 minutes, Harm's Way unfolds with not a minute wasted, similar to Weezer's Green Album. And while they couldn't be more far apart in tone and ambition, they're comparable in how they progress with limited dynamic range and a generous amount of hooks.

Maybe it’s not the showiest of returns, but instead, she proves that the toughest battles are the ones that happen inside us.

There are certainly faults here to be rectified, but this album represents yet another very good entry in his discography, not spectacular but representative of what will likely be among the best 5 hip-hop albums of 2013 along with Brown and Sweatshirt's releases.

Ultimately an excellent record. Where the message is muddied, thankfully the music is often, simply put, beautiful.

Get Color goes by fast and leaves the listener satisfied but begging for more wonderful, eardrum punishing noise.

Even at their blandest, and truthfully their dumbest, AC/DC make a compelling case why they're so good at this rock n' roll business. As it turns out, the secret is to stick to the formula until their dying day.

Slogging through the whole disc for the few shining moments just isn’t worth it.

Dear Tommy may still be lost in the ether, and who knows when Jewel decides to complete it. But Closer to Grey feels like a fully-fleshed concept, and it should be considered the long-awaited follow-up to Kill for Love fans have been clamoring for for years.