You aren't likely to find a single track that you'd want to put on repeat for the drive home from work, but the experience of listening from track to track, beginning to end, is a moving experience worth lending your ears.

After a year-long medical hiatus, the band returns with Outside, an album that shows the group putting much more effort into melody and song construction but holding onto the same energy and dark mood as before.

As Hauschka takes his orchestral style into this new musical sphere, his music demonstrates the constant evolution ignited by combinations of diverse musical influence.

On Low's ninth full-length album, the slowcore trio from Duluth creates its most inviting work to date.

Though easy to peg a purely pop album, with only one track that dares to venture beyond the 3:30 mark, Evening Tapestry's controlled psychedelic overtones help the songs go beyond run-of-the-mill pop tunes.

The result is a beautifully poignant and cinematic album, a post-hardcore masterpiece.

This is very much her record-it's a fractured gorgeousness, with Garbus embracing her oddness in a gesture of self-love that results in an alarming, startling, fun and playful record.

It's hard to tell if the seemingly random, incoherent screeching and shouting from Siegel is meant to be a gimmick, a cop out or a totally genuine mode of expression. Whatever it may be, it's working.

TV On The Radio has become less animalistic, less apocalyptic, less conflicted -- and more loving, more comfortable, more soulful.

The girls have made strides in bookending the album with tracks that are longer than six minutes-quite different from its usual two to three minutes-but the next step is to use the extended time to explore what else they could do with it.

The Family Sign finds Atmosphere back on his old level of sharp self-criticism, but the album is also a step forward for the whole group.

Sure, Lennox makes a lot of pretty noise on this album, but sometimes you just want to pluck him from his own sound waves and have him try to navigate them from the inside of a more firmly constructed ship.

Crystal Stilts hasn't broken from what made it good in the first place -- but In Love With Oblivion proves that the group is coming into its own.

The music achieves a throbbing equilibrium halfway through each track, which makes it easy to zone out. So maybe this is just great zone-out music.

Blake and Childs have no need to prove why they're considered some of the U.K.'s best songwriters and musicians, but Jonny does just that.

Her cold-blooded style meshes well with Hince's clanging guitars and the sleek world they have created inside of Blood Pressures.

The music is still driven by the same conceptual forces, instrumentation and voodoo tradition that Orchestre Poly-Rythmo has always been known for. Contonou Club is not only a symbol of the group's reunion; it marks the continuation and growth of a West African musical revolution.

This isn't happy-go-lucky music; these are sounds reserved for darkly tainted dance floors, where smiles aren't a part of the dress code.

This record isn't as energetic and peppy as previous efforts, but don't confuse moodiness with lifelessness.

Heidecker And Wood's music may not be meant for Tim And Eric, but it's certain that any fan of the show's comedy would enjoy chuckling to the sweet sensual sounds of Starting From Nowhere.

The album is deceptively simple, but underneath the easy-listening vibe lies a fascinating medley of genres and musical references.

Mind Bokeh signifies a union between sonic exploration-typically condemned to musical isolation by being defined as experimental -- and the consonances of modern pop music that are readily accepted by mass listeners.

It's the motion of the album that compels you through it, leaving you with a need for some resolution in what the next track will bring.

Despite the heartbreak overtones, Belong is not a depressing or down-tempo album. It remains upbeat and concludes in a manner that ties up the loose ends of the story, all while raiding your new-wave album collection for inspiration.

The group's stab at human emotion is a smashing success because it's coming from a real place: the death of former band member Beau Velasco.

Telling The Truth is an hour of purely enjoyable songs that could have been, and are luckily not, lost gems.

Under Streetlight Glow is a collection of intimate songs written by Spencer during film school when she aspired to place her music in her film projects.

Tear The Fences Down is open and inviting, and it's hard not to be pulled in by its verve and genuine sincerity.