Their singing is stripped of its former bite, and while they still ramp up the fuzz, it's a much cleaner-sounding album made at Dan Auerbach's Nashville studio. And as a whole, it's very inconsistent.

Truth be told, Pythons seem to feel pretty conflicted about itself: hooky, Weezer-ish guitar pop offset by desperate, discomfiting lyrics, fleeting hopes of reconciliation quickly dashed by heavy-hearted resignation.

It’s silly, it’s in no shape or form subtle, it’s fun, it works.

The problem with Chapter II is that even the album’s high points are only just good, when the dubstep world has reasonably come to expect great things from Benga.

This is the early-hours sound you nod off to, not the one that has you second guessing what you heard.

The third album from this Canadian collective is their strongest yet, and clear proof that while yes, everything old is new again, there are a scant few armed with the passion and power to craft something worth revisiting.

Few groups do wistfully melodic trad-rock any better right now. Smith Westerns haven’t only not burned out, they’re a budding institution.

Avalanche’s obsessive squeaky cleanness keeps its audience at a distance. Coco might insist that she’s still looking for trouble, but there’s none to be found on Avalanche.

Cashion and Willen’s sense of melody is as rich as their textural layering, resulting in pieces that are immediately engaging yet hypnotically serene, and, at times, devastating in their poignancy.

With Sunbather, Deafheaven have made one of the biggest albums of the year, one that impresses you with its scale, the way Swans' The Seer did last year.

The frequently overstuffed, occasionally scatterbrained album is far from perfect. But even when going for broke gets them into trouble, Portugal seem happy to get up there and overshoot the mark.

Hyetal has a firm grasp on his spin of sweeping, beat-infected sentimentality, and Modern Worship is strong enough to see him lead a crowd, or keep dancing on his own.

Saltwater is a pretty record and the songs are clearly heavy with personal significance, but it was almost better when they were a little rough around the edges.

What we’re left with is Boards of Canada’s moodiest record, a full-length tinted with atmosphere that unfolds slowly and is happy to allow you to come to it.

In the end, 13 isn't what every Sabbath die-hard dreamed it might be: a true pick-up-where-they-left-off comeback for the group's founding quartet. But the record does belong in the view of every metalhead--not just because such a seminal band still deserves obligatory props, but because, imperfections aside, the record embodies the kernel of the original Sabbath idea.

The structure is as expansive and freewheeling as any strange trip.

What comes up as a whole is this odd but endearing blend of plainspoken nonchalance and almost limitless musical eccentricity.

More deeply satisfying than extraordinary, it seems unlikely to displace anyone's favorite Camera Obscura record, but neither is it a negligible entry in one of the smartest and most loveable discographies in contemporary indie-pop.

It all adds up to a remarkably visceral, sensual, confident electronic record that stays absorbing from beginning to end, and should finally catapult Hopkins to stardom in his own story.

Williams has figured out his sounds, but he’s still working towards his voice.

Mixed and mastered without nuance or mercy, the relentless blare of Excuse My French becomes a paradoxically ambient experience.

How Far Away holds its juicy details a little too close to the chest to truly prove cathartic to anybody but Bleeker.

Despite Friedberger’s singular phrasing and voice, there’s something inviting and comfortingly familiar about Personal Record’s approach to pop melody.

A modest record of modest aims from a songwriter coming to terms with his current station.

Regardless of the inconsistencies, The Ways We Separate still leaves its mark.

Dinosaurs is a testament to how 90s alt-rock angst can translate meaningfully to middle age.

The Surrey duo have not only made 2013's best dance record so far--they've also concocted one of the most assured, confident debuts from any genre in recent memory.

It’s expansive and ambitious, and divorced of all the tweedy preening and aw-shucks raggediness the idea of “folk” has accumulated in recent years. It's dark, it’s angry, it’s even sexy, in a sly, subtle way.