Singer John Orth's gentle vibrato is well positioned to channel the nervous, ephemeral innocence of boyhood curiosity.

The even-keeled approach stands tall on this mixtape, validation of the years of wisdom and brilliant intent under his youthful exterior.

While(1<2) offers a more thorough understanding of the dance music culture than the main stage at Ultra has done over the last six years.

While it would be interesting to hear the album with sharper production and a little more focus, that would ultimately be its very end. This one thrives on the fringe.

Some tracks are pretty, some are ominous and haunting, a few are just plain fun, but all the songs on the Hanna OST are quality electronica from one of the genre's foremost acts.

Winehouse was an undeniably gifted singer and a unique talent. There are pieces of Lioness that reflect that clearly, and others that don't do as good a job.

There’s very little relief from heartache on The L-Shaped Man, but it’s such an emotionally naked record that its bleakness is oddly invigorating.

While at the end of the day the formula still works, it just isn’t as fresh as it once was to demand immediate repeat listens. But Delta Machine does deserve repeat listens.

Provides more than enough reasons to keep Bosco Delrey's warm tunes on your playlist beyond the cold winter.

Will it be your favorite Primal Scream record? Probably not, but it’s a good record with a couple of killer jams--so roll a little face for old time’s sake.

Junkie XL never allows the guests to dominate the tracks, synthesizing polished layers by merging the strengths of outside players with his own multi-genre prowess.

Boucher chose to confront his feelings through song, and he did it for himself. The fact that he decided to share it with others seeking solace through sound is a gift.

Temple's solo work is an entirely different sound from his work with Here We Go Magic. It is warm, rich, and tinged in the soft, lo-fi fuzz of four-track recording.

Gallery does little to further their musical template, but piggybacked with Idle Labor, it does cement Craft Spells as a contemporary master of the genre.

The five-night cherry-pickings are a fun listen, but Titus Andronicus need to make a descision: include properly ordered acts to squeeze the most out of The Most Lamentable Tragedy or include older hits to squeeze the most from a typical Titus Andronicus set. If the Jersey crew can make the slower numbers sound more amusing live, then maybe they can get back on track to find that original rebellion inside of them and, in turn, inside all of us.

At its core, Golden Age speaks up like another highly anticipated LP with everything to prove, and the proof is in the pudding.

Ark’s sonic palette has broadened to encompass both ethnic instruments and contemporary sound effects.

Fans of Rodrigo y Gabriela’s early albums will find much to enjoy on 9 Dead Alive. The duo has continued their journey toward creating a unique sound that stands astride the disparate worlds of flamenco, tango, rock, metal, and countless other genres.

If this is the caliber of what Braid's writing nowadays, though, I'll hold out hope for a full effort.

Banks succeeds in channeling the intensity of one man's regrets, ultimately looking outward and searching.

They do a serviceable job in a handful of styles, and that’s nothing to sneeze at. Methyl Ethel could be your next favorite band, but they just have to pick what band that will be.

It might not be the same magic, but something magical is coursing through Shiny and Oh So Bright, Vol. 1., hinting at a future we can all embrace--especially Corgan.

The misplaced agendas piercing Strange Clouds are minor hindrances to an otherwise creditable album that has enough juice to maintain significant staying power.

Their first full length proves to be a commanding venture with unrelenting attitude.

The 23-year-old Tesfaye will almost certainly make a bigger, better record soon. For now, Kiss Land works fine as one of the year’s most fearless pop releases.

Summers and Weikel work incredibly well together on Negotiations. Summers' haunting voice and shimmering guitars roll and intertwine with Weikel's drum and synth work effortlessly. It's an album that may take an extended listen, but once you key in, you won't shake it off.

Pterodactyl's sound most figuratively Spills Out. Drink up and enjoy.

For the time being, Lost Sirens may not "stay with you 'til Hell freezes over," but long-standing fans are sure to rejoice in this welcome blast from the past.