LCD Soundsystem principal James Murphy is at his cynical best on the act's third album, This Is Happening.

The album is signature Kelly: fantasy-filled romps, club jams and heartfelt ballads brought to life by the singer's ear for catchy beats and melodies and mood-setting lyrics.

Ali and Toumani is spontaneous and deeply spiritual, depicting two outstanding musicians who are governed by nothing but their love for their nation.

This is Stereolab for the age of the short attention span; but if it's a swan song, it's just as representative of the band's body of work as anything in its 20-year catalog.

It's not news that these guys rock, but on their first new album in eight years the Heartbreakers have their Mojo working like they never have before-which is a fine thing indeed.

It allows listeners to refamilairize themselves with the Weeknd's aesthetic, which was striking and singular to begin with.

During the 13-song set, Jones ditches the gentle piano-playing of her previous work and rises to a new level of creative boldness.

Produced by Matt Serletic, the album is a sonic delight, refreshingly different from what often dominates country radio airwaves. But the 13-song collection is still accessible enough to whet programmers' appetites.

Joy is a journey not to be missed.

It's one of Mayer's most diverse and exploratory albums yet, trying on a variety of different styles to accompany a set of particularly reflective and soul-searching tunes.

Buoyed by a favorable divorce settlement, a baby boy and a newly released high-energy dance album, Flesh Tone, the recently single Kelis is ready to bring the boys back to the yard.

Luckily, Wale never spreads himself too thin on Attention Deficit and maintains the urgency of his mixtapes to ensure that the set contains little filler.

Known for her past collaborations with English electronica band Zero 7 and more recently with Christina Aguilera, Australian artist Sia Furler shines bright on her own on her newest release.

Any listener who has experienced the emotions associated with a romantic split should appreciate the album.

The angry young woman who famously sang about setting kerosene fires and waiting with a loaded gun for her abusive beau has found love with new boyfriend Blake Shelton, and it's reflected on the diverse Revolution.

This album is one that begs to be lived with for a long period of time, its quiet details given ample room to germinate.

Manipulating her voice as much as she does her sound, Monáe widens the cast of characters and pushes along the self-explorative narrative. The ArchAndroid could be the stuff of stage or screen, 3-D without the annoying glasses.

It's a sleekly presented modern-rock album with no shortage of bruising guitars or catchy choruses.

Auerbach offers a more sedate take on the "Born to Die" template, lightening the orchestrations, ditching the hip-hop beats, and presenting Lana as a perpetually scorned pop-noir fugitive--part Neko Case, part Katy Perry. It's a delicious contrast that makes for a surprisingly great album.

It's not the challenging listening experience that such recent albums as "Orchestrion" (2010) and "The Way Up" (2005) provided, but "What's It All About" is Metheny at his most genteel.

With a string of hit singles under her belt, Perry has aspired to create a multi-faceted full-length and has consummately succeeded.

[Morello's] contributions feel inventive, versatile and natural, like an extension of the direction Springsteen was already moving in.... Aniello's production work definitely enhances and does not distract from or obscure the tracks.

It's rare when every member of a band can claim both vocal and instrumental contributions to an album, and even more rare when each contributor is exceptionally talented.

Crystal Castles aren't as cold as they appear to be, but they are calculating--(III) is an expertly produced album that, at just nearly 40 minutes, leaves fans wanting more.

Patti Smith, Eddie Vedder, Peaches and Lenny Kaye are along for the ride, helping Collapse Into Now stand tall in R.E.M.'s richly diverse canon.

The Beach Boys mastermind's dip into the world of George & Ira Gershwin is a love's labor that makes plenty of sense and opens up at least a few of the tunes to illuminating interpretations.

The 14-track set's distinguishing characteristic is a soul flavor of the Muscle Shoals variety, a smooth fit given the role of frontman Patterson Hood's father, David Hood, in that community as well as DBT's own work with Bettye LaVette and Booker T. Jones.

There's a little less bluster and bravado on Toby Keith's latest album, American Ride, and it's a welcome turn.