In his third album, produced by Valgeir Sigurðsson, folk singer Amidon again takes on both the old and the new with guests such as fellow folkie Beth Orton and classical composer Nico Muhly.

What the critics liked: Amidon's distinctive voice and interpretations allow listeners to engage in his rustic reimaginings of both murder ballads and R. Kelly.

What they didn't: Critics didn't seem to find anything to dislike. (You, however, may not be a fan of his voice; listen before you buy.)

Electronica guru Dan Snaith's latest Caribou album, created as he was learning how to swim, is less upbeat than 2007's Andorra, but still very danceable.

What the critics liked: Heavily textured dance tracks and Snaith's trademark compositional sophistication make for an immersive aural experience.

What they didn't: The vocals seem to be the common weak link, and Cokemachineglow was disappointed that the album contained "mild retreads of stuff we already know."

This precocious folk-rock artist's assured second album vindicates her as more than a one-time wunderkind.

What the critics liked: Both darker and more sophisticated than Marling's Mercury Prize-nominated debut, the album evokes both passion and delicacy; more than one reviewer referred to her as a sort of folky PJ Harvey.

What they didn't: A few reviewers seemed uncomfortable with Marling's ability to imbue even the mundane with gravitas—but they might be the type who think women tend to take some things too seriously.

This retro soul outfit's timeless appeal is anchored by both impeccable production (using vintage gear) and the fantastically gifted vocalist Jones.

What the critics liked: Jones' voice just gets better with age, and the band's soulful musicianship continues to perfectly evoke themes like "he done me wrong" even as the songs veer into funkier territory.

What they didn't: Some critics complained that the music is nothing new but admitted that the artistry still elevates the material.

19-year-old Avigdor Zahner-Isenber heads this dreamy California indie-pop quartet that is currently riding a wave of Internet hype for this self-titled debut.

What the critics liked: Catchy songwriting and an age-appropriate blend of melancholy, lust, and innocence make for an irresistible record.

What they didn't: While some critics may have called them sentimental and naive, they meant it in the best possible way.

Acoustic folkster Kristian Matsson's virtuosic guitar strumming and evocative rasp lead many to refer to him as a Swedish Dylan (Bob, not Thomas)—a title this record will only reinforce.

What the critics liked: Critics swooned over his lyricism and his ability to attain a variety of moods from a minimalist palette, with Clash Music going so far as to refer to him as "the saviour of modern folk."

What they didn't: Drowned In Sound said that the album "lacks distinctly in original thoughts, or ideas, or anything that doesn't bring to mind a few predecessors. "

Lively, cheerful psych-rock with irrepressible harmonies gets a more polished production in Dr. Dog's more ambitious sixth album.

What the critics liked: The band draws on their experience to create songs with appealing hooks and emotional exuberance.

What they didn't: Dr. Dog occasionally wear their influences on their sleeves, which may bother some listeners.

Not to be mistaken for the duplicitous Jurassic Park employee, this London outfit consisting of vocalist Ayu Okakita and producers Matt Parker and Chris Amblin pushes dubstep to the forefront.

What the critics liked: Dark, glitchy, and compelling, this 8-song debut features Björk-like vocals and a gritty neo trip-hop ambience.

What they didn't: All Music Guide mentioned that while the debut lacked focus at times, it showed impressive potential.

This Swedish band's dreamlike, melancholic indie pop was prominently featured in Sofia Coppola's Marie Antoinette. This is only the band's third album, though they've been together for almost a decade and a half.

What the critics liked: More polished than previous outings, this 34-minute LP is heavier on the synths while still retaining its shoegazey backgrounds and bittersweet lyricism.

What they didn't: When it's good, it's very good, but for the most part, the band seems content with the familiar.

This Minneapolis experimental musician's fifth album, which prominently features guest Andrew Bird, is dedicated to a friend who recently passed away.

What the critics liked: Sophisticated percussion and "vulnerable, exultant melodies" (Onion A.V. Club) further Dosh's sonic explorations, which lean heavily electronic while defying genres.

What they didn't: The sheer breadth of styles brought a few reviewers to exhaustion, though none denied the artistry it required.