With a sound that maintains relevancy in the modern age as the band keeps true to a form that’s existed thirty-plus years, Protomartyr’s Detroit Rock interpretation of post-punk seems to gain something with every album they produce, a sensibility that’s somehow detectible but difficult to define or pinpoint.

Like all Newsom’s albums, it is full of beautiful music and lyrics that initially appear enigmatic but are in fact simply dense, but it’s the first one to embed within itself, on various levels, the necessity to continue mining its depths.

Try it out, it's definitely worth it, just not anything you'll be rushing to your guitar to emulate. Or maybe it is, if you're in to taking it easy.

The trio's assembly of sharp percussion and atmospheric melody as logically configured and essential to the make-up as words are to a properly written or formed sentence.

The duo balances every big statement with genuinely warmhearted moments. The piano-driven Until I'm With You Again is a good example, which serves as a preamble to the galloping sing-a-long anthem Get Numb to It! Is it precious? Sure is, but does it matter when they have full command of their craft?

For all its faults, give Night of Hunters more than a little patience, and perhaps don't pay too close attention to the plot, and it reveals itself to be Amos' most consistent, interesting album since her mid-90s heyday.

Through no fault of their own, some their more twangy performances don't sound too distinguishable from like-minded acts Wednesday and Big Thief. Bad timing, perhaps. But these quibbles don't detract from Ratboys' refined ebullience, glistening with an authenticity that sounds even better when you add the Chris Walla effect of making music sound irresistibly bittersweet.

DINOWALRUS fuse together a perfect blend of dance punk and art funk.

After isn’t perfect, but it’s certainly an album that sounds as strong and mysterious the first time and 10th time you listen to it.

Although Marika Hackman’s covers album lacks for originality in the title department, she more than makes up for it over the course of the ten tracks.

At times danceable and thoroughly emotive purge.

It's in Spoon's ability to remain so forthright while keeping their intentions a little bit hazy where their songwriting presents itself in the best light. We've never asked them to spell it out for us, especially when they're at their most direct, and that's why they continue to keep us guessing after all these years.

The boys are in peak form in (Girl We Got A) Good Thing, a sauntering piano-led number that has this bubbling, dumb-is-more-fun David Lee Roth attitude about it that could possibly cause one to shed a single, happy tear in its rousing finish. The colorfully romantic Wind in Our Sail is also typically gleeful, detailing a cute meet alongside one of the band’s most memorable choruses since Pork and Beans.

With Valentina, [Gedge] has created another fine love album, full of clever, relatable, fine love songs.

In Heaven certainly does enough to make an initial impact, and on its own, it's hard to ignore.

Centered around their view of how we all connect, there's a familiarity in how the trio naturally links themes of nature and spirituality around the human condition—but it's the first time in quite some time where it feels like they're genuinely reaching beyond their loyal fanbase.

It sounds at once old-fashioned and contemporary, undemanding but clever – a joy.

There are certainly faults here to be rectified, but this album represents yet another very good entry in his discography, not spectacular but representative of what will likely be among the best 5 hip-hop albums of 2013 along with Brown and Sweatshirt's releases.

Lenses Alien is a thick, abundantly ornate listen that overawes as much as it enthralls.

Even with the shifting styles under Nasty’s verses, this is the sort of explosive debut that is downright unforgettable.

What made Laughter’s Fifth great and this one better than it might otherwise be is his commitment to just plugging in and playing, which gives the music a spontaneity sorely lacking in much of today’s post-digital landscape.

All Day is Girl Talk's cleanest album in that sense. Pitch disagreements are virtually non-existent, and save for one ill-advised Creep mash-up, it's as close to perfect as he can possibly get.

As strong as the hooks and melodies are in British Home Movies, it’s her artful narratives and evocative choruses that really stick, enveloped in micro stories of traveling along paths that are paved with memories.

This album then delivers anger, honesty and arrogance, all in sporadic scatter-gun fashion: the overriding feeling is confused, uncertain, often unreasonable, but ultimately well intentioned.

You only need to read through the song titles to get a sense of it all, but the carefully constructed builds of tracks like Wish We Had More Time and This Is Where It Ends make spending time with sorrow hard to resist.

The end result is the kind of unique album that only results from someone who has spent a career staying true to themselves, playing every instrument, writing every song, adopting a singular fashion stance, and even opening their own record label. This album is a reflection of that growth, and hopefully a promise for more of the same.

With a perfect combination of loose noise and tight melody, Eagulls’ self-titled debut puts the group on the fast track to be taken seriously, even compared to peers on their third or fourth try.

Few albums are truly perfect though, and Bon Iver is not without its flaw.