Phantogram have put forth a collection of heady and stimulating songs primed for in-the-dark listening.

[Harmonicraft] finds Torche further indulging their pop muse. The result is a set of songs that retains most of the heaviness we've come to expect at this point, but with even more single-ready ear candy than ever before.

It's punk rock for the same fans who loved Hot Water Music years ago.

Direct Hits is a solid, predictable, and wholly enjoyable look back at the Killers’ tumultuous first 10 years.

While his best songs may yet be scattered about the internet or buried in his friends DJ sets, Guilt Trips works better as a cohesive whole than anything which has come before, yet leaves you clamoring for more.

Aside from that rather flat conclusion, Nightlife is a solid offering from a unique act who possess a sound all their own, who seem unafraid of exploring all aspects of that sound.

Regardless of the reason, Country Sleep is more immediately accessible and rewarding than most of the records from the artists listed above, a stunning surprise debut that will be sitting somewhere in my annual top ten come December.

Songs of Innocence is a great record. Not a perfect one, mind you: for one thing, Danger Mouse, the record’s primary producer, uses a few too many of his tired stock tricks along the way, making the record sound more generic than it would with Brian Eno behind the boards.

Overall, The Vaccines have released a great album in the form of The Vaccines Come Of Age.

Dopamine isn't his best record, and it might be his worst, but for one of the slyest songwriters from the past two decades of pop, "worst" can still be pretty damn great.

While some tracks may feel more like Bay and Ratner, Ross more often than not hits his mark.

Those who soak up the sex-addled, beer-swilling rockstar lifestyle will find plenty of kinship with Most Messed Up, but don’t for a second call it their best work though, it’s far too narrow to be given that glory.

These songs demand attention like they demand volume; they require the space of repeat listens and the privilege of high fidelity audio presentation.

The Wallflowers have always been a band that excelled at bringing new life to things we'd heard before, and that remains true on Glad All Over.

This isn’t an album that’s going to light people up or satisfy those who are still suffering from The Smiths refusal to reunite. However, if you take The Messenger for what it most organically is, a British indie rock album, you won’t be disappointed.

I Don't Dance is a sprawling, thought provoking work from an artist who is just now hitting his stride.

Often misty eyed and always misty, the sophomore album from Blood Orange makes a compelling argument that a stroll on the beach can be as affecting alone as it is alongside a partner.

So even when he's writing winning pop anthems, Page One, ultimately becomes a mirror to his personal life: brilliant, impassioned and articulate, yet undeniably hinged to hiccups, pitfalls and moments of sheer idiocy.

Like its predecessor, Pigeons is also delicate, but it does much more than shimmer and sound pretty. The rhythm section takes a huge step forward, the arrangements are more varied and robust, and there are countless actual hooks.

Combining the huge sound of Of Men & Angels with the youthful honesty of Hello, Good Friend and Do You Feel, Avary has created his best record yet with Life Will Write These Words.

It may not supplant Through Being Cool or Stay What You Are as your favorite Saves The Day album, but you can safely put it in the upper echelon of their discography.

The result is the most actualized version of Fall Out Boy we've ever heard, an undeniable portrait of who Fall Out Boy is today, in 2013

Over and done in less than 45 minutes, Crazy World is a fine album from a band who seems comfortable with their place in the landscape of contemporary music.

True to its name, this record is one of the finest debut pop-punk records of the last five years and easily among the top tier for the genre this year.

There is a lot to like on This Is How The Wind Shifts, as Silverstein accomplishes the tricky balancing act of progressing your craft while retaining that sound that made the band into what it is today.

While overall House of Balloons carries a chilling vibe, it proceeds to rock the listener with exciting tempos and relaxing melodies that intertwine to form a beautiful piece of art.

In the end, Plant sounds more comfortable in this genre than he has on any of his past solo albums.

The different moods and soundscapes take awhile to digest and let sink in, but every trip back to the dim dance floor has your feet leaving the disco with fresh moves and new accolades.