Her magnetic debut album doesn't aim to break new ground, but her rustic, Stevie Nicks–ish voice unifies the myriad sounds that position her as both a radio-ready alt-country chick and a young, hip folkstress who pulls off online covers of Lady Gaga and Kid Cudi.

Lysandre inevitably feels a bit skimpy. It's still an unnervingly tuneful warm-up: freed from his hipster shackles, Owens is harnessing the power of the incredibly uncool--and he's all the cooler for it.

After the brilliant five-track sweep that opens Ritual Union, which peaks with the entrancing "Please Turn," Little Dragon take an unfortunate turn toward light experimentation and hard-nosed repetition, emphasizing pocket-sized click-clack rhythms and downplaying

It is her most authoritative and cogent statement.

In spite of its self-depreciating title, this odds-and-sods collection of the usual B-sides and other spare tracks lives up to some of the best material the Las Vegas foursome have delivered.

Her fourth album brims with sunny hooks on its best tracks, and the alluring opener, 'Little Black Sandals,' affords her a rich, layered backdrop.

It's exactly the kind of album one imagines Bird could whip up on a lazy Sunday afternoon after a cat-nap.

Although his results can be flimsy, when his creations get legs under them, Terra is the bomb.

CD2’s smoking live versions are where AC/DC defend their reputation as a well-oiled machine, as oiled up as the jugtastic fembots that permeate the music’s hyper-hetero fantasia. And the band’s testicle-laden metaphorical fodder is brought to life on the DVD’s music videos.

Their tracks bounce lovelier than Joe Budden's girlfriend on that trampoline (consult YouTube), and they exhibit a flair that distinguishes their cross-continental steeze from that of any other beat team.

The stylistic hopscotch on Harlem River Blues--he flits easily from real-deal rockabilly to soulful power-balladry to roadhouse-ready honky-tonk--points to a restlessness that serves him well.

Koushik finally attempts to transcend his impeccable record collection.

Throughout, Leo and his stalwart Pharmacists (who include James Canty of the Make-Up on guitar and keyboards) reflect the singer's unified worldview with hooky, sharp-angled guitar jams that somehow seem catchier the thrashier they get. Chalk up another win for one of the good guys.

Although they love drama, AFI never abandon believability here. Which means the arena-rock trappings don’t make the music feel fake -- they just make it feel more exciting than life.

His deadpan honk of a singing voice calls to mind a less caustic Mark E. Smith, and he arranges the 12 quick songs with a gift for effective repetitive hooks and reductive structures.

Having graduated from knuckleheaded threats to a more hardened ghetto perspective that sometimes blossoms into tender complexity, Freeway sounds at home, particularly over the sweetly weeping keyboard loop that grounds 'Reppin’ the Streets,' the album’s best track.

Peaches sharpens her synth hooks, varies the electrogrooves, and serves up 13 tracks that are just amusing enough in their risqué behavior to keep the smiles coming while also standing behind the political point of the title.

At their best, though, Handsome Furs do for the disaffected what the Postal Service did for sentimental Death Cab cuties: they deliver more of something not quite the same.

Les Savy Fav's fifth studio album finds the veteran Brooklyn quintet further channeling the gonzo energy of their live show, and with winning results.

Megafaun have promised a full-sized follow-up to last year's stellar Gather, Form and Fly by year's end, but this six-song appetizer will serve nicely for anyone pining for new material from these North Carolina avant bards.

To Willie could have a lost ballad and a roadhouse jam for variety's sake, but Houck's thoughtful curating makes it more than a fans-only stopgap.

There are times when Upper Air could be some clandestine jam session in the wilderness.

It's all good fun, but (mostly) all been done before.

Crafted with worn elements of the electronic cannon, his third LP as Shed doesn't offer much that's fresh. Rather, it's nostalgia and recontextualization that drive this effort.... [Yet songs, I Come By Night, You Got the Look, and Follow the Leader] are all indicative of mastery.

The new BSS album may already have a lock on most dynamic record of the year.

Seven great tunes... and... three dull ones.

This could prove strenuous, but the album is more contemplative than didactic--a (k)no(w)here that’s difficult to study but easy to inhabit.

There is no mistaking, Parade is Keene at his best.