Known for their instrumental prowess, the members of Dillinger Escape Plan make loud, aggressive metal with an experimental bent (think tricky time signatures). "Option Paralysis," their fourth and longest album, is their first for their own label, and also their first recording with new drummer Billy Rymer.

What the critics liked: It's another strong effort for a band that has few equals. The songs are emotional and dramatic. Greg Puciato's Mike Patton-esque vocals are among metal's best.

What they didn't: The band's music can be challenging, and the new album doesn't break any new ground.

The R&B singer-songwriter's follow-up to her 2008 album is analog and personal where Part One was digital and political. The new disc features contributions from ?uestlove, Lil Wayne, 9th Wonder and Madlib, and has caused a stir due to a racy video for the song "Window Seat."

What the critics liked: The album's loose structure gives Badu the freedom to explore and invent. It's smooth, soulful, odd, and inventive. It's also more accessible -- and possibly also more enjoyable -- than its predecessor.

What they didn't: The songwriting is a bit too loose, "leisurely" and "hazy," and Badu doesn't take quite as many risks as she did on the previous record.

Singer-songwriter Casey Dienel's second LP under the name White Hinterland (now a Portland, Ore.-based duo that also includes musician Shawn Creeden) showcases a new minimalist sound with elements of electronica that range from lush to dubby.

What the critics liked: The group demonstrates an admirable willingness to experiment with their approach. Despite its minimalism, there is a lot happening on the album, and it rewards repeat listening. Dienel's voice is another high point.

What they didn't: While it's a step in the right direction, the band hasn't gone quite far enough in establishing a distinctive sound.

This expansive second album from the British art-rock four-piece incorporates a full orchestra, a choir, sound effects, and more electronics than the band's more guitar-driven debut. It was co-produced by Graham Sutton of Bark Psychosis.

What the critics liked: It's a fascinating, thrilling, and ambitious experiment. The beats are strong. You won't hear anything else much like it.

What they didn't: There are few actual songs. The album lacks coherence and is close to being too over the top, and the vocals can grate.

The vaguely Civil War-themed "The Monitor" is the second album for the New Jersey indie-rockers. Members of Vivian Girls, Wye Oak, and The Hold Steady guest.

What the critics liked: It's an accomplished, intelligent album. The concept doesn't get in the way of the songs being relevant and fun to listen to, and the band shows a refreshing sense of humor.

What they didn't: It's a bit overindulgent and overlong, and the theme doesn't work for some critics.

The third album for the Montreal indie-rockers led by husband and wife Jace Lasek and Olga Goreas features layers of sound (mainly guitar) in service of a '60s psychedelia-meets-shoegaze whole.

What the critics liked: The sound is darker, bigger, and more muscular than on their previous album, and all the better for it.

What they didn't: The songwriting sometimes takes a back seat to technique, and not every track is a winner.

Award-winning British experimental jazz outfit Polar Bear returns with a fourth album.

What the critics liked: It's another strong effort for the band. The record exhibits a winning irreverence and originality, and is both approachable and "invigorating" despite its experimental and all-instrumental nature.

What they didn't: There were few complaints about the album, other than it being a bit "heady."

One of the more challenging bands to emerge from the New York indie-rock scene in the early 2000's, Liars refuse to sit still, changing their sound (and, typically, even their location) with every release. Recorded in Los Angeles, this fifth LP is earning the band yet another batch of strong reviews.

What the critics liked: "Sisterworld" is one of the band's most accessible outings yet. The band continues to push their boundaries and make intriguing, compelling music.

What they didn't: Like previous Liars albums, its very calculated and challenging, and missing an element of fun.

"A Sufi and a Killer" is the debut LP for San Diego, California's Sumach Ecks, who was signed to Warp after guesting on a track by Flying Lotus. Hard to pin down, the album is a hallucinatory mix of hip-hop, trip-hop, electronica and psychedelic folk, produced by Gaslamp Killer.

What the critics liked: It's trippy, appealing music. The album exhibits great attention to detail, and seems to exist outside of any time or genre. It greatly rewards repeat listens.

What they didn't: It can be hard to wrap your head around what you are hearing, and it makes for a challenging listen at times.

The third studio album from the hugely successful "cartoon" band led by Blur's Damon Albarn features contributions from Snoop Dogg, Bobby Womack, Mos Def, Gruff Rhys, Lou Reed, Little Dragon, and more.

What the critics liked: It's a fun listen. Several critics feel that it is not only the Gorillaz' best outing yet, but also an ambitious, groundbreaking work of pop music.

What they didn't: It's not as immediate as previous albums, and it falters a bit in the home stretch. A few critics also complain that it lacks coherence, while a few others find it a bit dull.