The broad spectrum of genres Merchant explores also prevents the set from feeling overlong. She has returned with a painstakingly constructed record that feels light and nimble, a credit to her still-impressive talent as a songwriter.

A phenomenally successful career as part of a duo doesn't guarantee success outside of it. But it should certainly come as no surprise that Ronnie Dunn doesn't slouch or stumble on his solo debut.

It's arguably the most potent lineup since Josh Homme put QOTSA together in 1996, and it's embellished on the band's sixth studio album by guests.

Korn III (a reference to this lineup as the third incarnation of the band) moves forward more than it retrenches, referencing some stylistic trademarks while introducing some fresh dynamic sensibilities.

The sense of abandonment hinted in the title of David Gray's second album in less than a year, Foundling, could be a reference to the work's minimalist nature.

With the help of heavyweight producer Rick Rubin, Gogol Bordello's major-label debut, "Trans-Continental Hustle," maintains the band's ethno-clash dance party reputation, but with less punk attitude and a more mainstream songwriting approach.

Give Up the Ghost is another rich offering from this distinctive female talent.

Reincarnated stands as an enjoyable pop record laced with an assortment of roots and dancehall reggae references.

This time the quintet holed up for two months in a Northern California cabin, and the resulting collection from the idiosyncratic singer/songwriter is intimate, experimental, and ultimately accessible.

On its latest release, A Thousand Suns, the six-piece rock act truly breaks the habit of everything we've heard from it before.

The new ambition found on "A Chorus of Storytellers" has led the Album Leaf to its best execution yet.

Another victory in a storied career, Small Craft on a Milk Sea is Eno's attempt to reiterate the relevance of the long-player through its unique sequencing.

Christmas in the Heart is an odd one-a collection of straight-ahead Christmas songs that benefits Feeding America, as well as food charities in other countries. But it will remind listeners that for nearly a decade Dylan has been working on his croon-exploring musical styles that are more polished than folk and blues.

A natural progression from 2008 release "Sleep Through the Static," the new set features more electric guitars and a brighter, full-band sound while still bringing plenty of singalong acoustic romanticism and breezy melodies.

The set careens confidently from the Prince-inspired fuzz-funk of opener "WTF?" to the slinky live-band R&B of "I Want You So Bad I Can't Breathe" to "This Too Shall Pass," a thudding psych-pop anthem in the mold of "Kids" by MGMT. It's not all so good-naturedly goofy.

Splicing sounds and rhythms that sometimes complement and often compete, "Oversteps" creates an evolving harmony built on its own continuous assembly and breakdown.

The sparse production recalls Cohen's 1988 release, "I'm Your Man," by throwing the Canadian balladeer's ever-deepening voice and his mix of poetic flair and pitch-black humor into satisfyingly stark relief.

Full of attractive instrumentation and unfalteringly charming lyricism, Bonham's collection brings a sophisticated quirkiness to the femme alt-pop table unseen for quite some time.

It's his understanding of the niche he's carved for himself--a love affair with darkness and sludgy rock braced with stripper-worthy blues rhythms--that makes his continued output worthwhile.

A set of tightly crafted, richly arranged pop songs.

Fans will be pleased to find Alkaline Trio remembering what it's like to be itself.

The end result may not be enough to convince America it's missing out, but expect this album to bring the already-converted back onboard in droves.

Bareilles' new album was the result of unrest, but as its title suggests, she has positively embraced her dissatisfaction and subsequently grown as an artist.

Children's gospel choirs and Joss Stone make somewhat unnecessary appearances, but musically the project impressively meets its goal of cultural connection.

The set has a fullness and energy-not to mention an arsenal of layered guitars-that give it the kind of muscle we haven't heard from the band in quite some time.

El Pintor succeeds in besting 2010’s Interpol, whose reception was so deflating, it could have killed the band’s career. But against even 2007’s ho-hum Capitol Records excursion Our Love to Admire (let alone Turn On the Bright Lights or even Antics), El Pintor fails to do much more than tread water.

As the band's first disc for Epitaph following a 15-year major-label run, the stripped-down Hurley mostly delivers what you'd expect.

The Toronto-based collective goes all out on its third album, Latin, which features lead members Brian Borcherdt and Graham Walsh's spacey keyboards and effects supplemented by the powerful live drums and bass of their touring personnel.