Vampire Weekend's second album, Contra, finds the New York-based band pushing its eclectic, intellectual indie rock further using a mash-up of musical genres, clever wordplay and emotional heft.

Ultimately, the electronic-free approach on the closer of the trilogy results in the Magnetic Fields' most organic effort to date--and it doesn't stray too far from Merritt's pop-leaning background, making it the most successful of its synth-free siblings.

Hynes continues to explore the scope of his musicianship, producing a collection songs that refuse to stand still.

It still warms the blood to hear those trip-hop synths roll on the slow-burning "Flat of the Blade" (with some acid loops thrown in for good measure), but Massive Attack's arsenal has expanded and the resulting onslaught is nothing short of brilliant.

The release is Sade's first new material in 10 years, but the act hasn't lost a beat.

As on Volume One, Ward's performance and production excel, and his song arrangements move effortlessly between heart-rending and cheery.While Ward's musicianship remains the magic behind She & Him, Deschanel's lyrical growth on Volume Two proves she can hold her own alongside a well-respected partner.

Dylan's newest album, Women and Country, explores fuller arrangements that better complement his simple but significant lyrics.

Caribou's newest set, "Swim," which contains more electronic elements than its pop-traced predecessor, is a major step forward for Snaith.

It's not so much that Merle Haggard has established himself as an American gem on his ambitious releases in the past decade; it's that we finally took notice.

The artist's familiar smoky vocals and the consistently rich production draw the listener in on his latest release, "Get Off on the Pain."

With lyrical themes of global economic distress and romantic bliss, British pop-punk band the Futureheads bring a more refined sound to its fourth album.

The group spit-shines its soundtrack for working-class America.

The set may not feel as catchy as Ra Ra Riot's well-received debut, but fans should appreciate the band's musical growth.

Clearly, Kem isn't self-conscious about his love of love--and we love him for it.

With his latest album, Mixed Race, Tricky picks up where 2008's Knowle West Boy (named after his rough birthplace) left off, exploring his diverse background, sonic heritage and frequently unforgiving surroundings with sounds as much as words.

On Kings of Leon's latest album, Come Around Sundown, the family Followill makes a strong bid to please longtime fans as well as the recently converted.

The artists' masks are designed precisely to keep us guessing about what's going on in their heads, but who knew it was this?

A minor release for Curren$y still bests most major hip-hop releases, and this Pilot Talk sequel relishes in the rapper's expanding set of skills.

Deerhoof vs. Evil is more tentative than the group's best work, but its consistently dazzling musicianship carries the band as it explores different themes on a new label.

After uniting with Kings of Leon/Modest Mouse vet Jacquire King, the band has emerged with a set that's more inviting than its first but just as catchy.

While the sound is looser with strummed acoustic guitar, sax, autoharp and brushed drums, it contrasts sharply with Harvey's thematic adherence to war, guns, bloodshed and bleak landscapes.

The music is at its best when it emulates an animated conversation, one voice leap-frogging the other with no one losing sight of the central theme.

The set is an enveloping mix of melody, mood and texture that speaks to Robertson's triple-threat virtues as a performer, composer and producer.

Only in closer Grown Ocean, with crashing cymbals and trilling woodwinds, do you get a sense that Fleet Foxes are actively trying to impress you. Even then, though, you're impressed all the same.

The tilting scales of light and dark give the collection a definite creep factor and a clever complexity.

Lotus largely benefits from all the bombast--Aguilera hasn't sounded so fun and energized in years.

Some of the music occasionally leans toward being overwrought, but mostly Love Lust Faith + Dreams--along with its Leto-directed visuals--invests itself fully and artfully in its own vision.

On Music for Men, the band's devotion to being itself has finally found it a place in the mainstream.