If Ninth is to be seen as Peter Murphy's renaissance, then we have far more to look forward to than a goth of a certain age in a leather studded rocking chair croaking "undead undead undead" forevermore.

It’s not an album that will be easily forgotten.

The Fratellis are quirky, and you almost have to accept that not everything will work to get to the moments of genius.

It has its heart wide-open, and not to love it would only be mean-spirited.

Peeping Tom succeeds (and wildly so, I might add) in the songs where Patton allows himself to succumb, if ever so slightly, to his more experimental tendencies.

Travis has always been criticized for its sometimes sappy lyrics, its supposed lack of adventurism as well as its marked unwillingness to touch on controversial issues. Well, let's just say they've put that to rest with this compelling, gripping, if not always satisfying, album.

Both familiar and new.

If the record is somewhat frustrating as an intensive listen, it works stunningly as music to have on when you are doing something.

The record smartly offers little in the way of answers, instead drawing us into its strange limbo.

Up All Night is a well-crafted slice of pop you can pop bubbles to.

As a whole, That's Why God Made the Radio is not a top-tier Beach Boys album. But it's neither a reach nor hyperbole to say this final suite is among the strongest, most affecting music Wilson has ever recorded.

Hiccups aside, Intensive Care is the first album in a while on which the whole thing gives the impression that even when he misses, Robbie Williams is at least trying.

It's accessible in parts, immensely challenging in others, and beguiling in its entirety.

Ultimately, it’s the highlights that stand out most on Balboa Island.

The Impossible Thrill underscores Alpha's knack for lush, floating textures whose less beat-oriented groove emphasizes the "trip" component of so-called trip-hop.

Although they've left the more fractured, splintered punk behind in favor of standard blues rock riffs, make no mistake about it, these wolves still have teeth, and they bite really hard.

Only thanks to one another, it seems, they don’t burn out, dry up, fade away. Fellow Travelers pays tribute to these companions in many forms. That dedication, more than the music, may be its biggest accomplishment.

Perhaps Tree City is best enjoyed when it is stripped of the weight of its influences, and consumed as it is because, well, these fellas do rock with an attitude all their own.

A classic mix of heart-tugging tunes and pound-your-boots rave-ups, This River might not be groundbreaking, but it sure is awfully good at what it sets out to do.

The LP falls just short of the Orb’s most essential work. ... This is one of those Orb releases that pleasantly bides its time, waiting for that rush of inspiration that turns out to be only a parade of pretty neat ideas.

It is as if both musicians have tapped into a single communal memory of music, discovering it as they play with each flurry of notes and rhythms.

That the result is largely "light" listening works against it to a degree, but the idea that such a sound was entirely Byrne's intent forgives even this. It's not often that a purely musical work can make us see a historical figure in a new light, but Here Lies Love is a fascinating exception.

Oh No is by no means a perfect album, but... the songs are more mature, the songwriting has improved and the album is enjoyable without digging too deep for artistic statements.

The songs here seem to belong to some larger context with all the fleshy meat ripped off, leaving the existing framework held together with only the most barebones sutures.

Until the Earth Begins to Part is a very good album; each band member is skilled at his or her craft, and the album benefits from it.

A step back to his roots but ultimately a step forward for electronic music.

The album is a pleasant surprise.

What MDNA does is establish the resurgence of Madonna being the coolest b**** in the room, not because of what she's done, but because of what she's doing.

Be Set Free is the musical equivalent of a green bean casserole. It’s not going be anyone’s favorite dish at the table, but everyone, young and old, will want a second helping.

Funplex is a very good album, and a solid pleasure from end to end.

A modest rebirth of sorts, Super Extra Gravity achieves a comfortable balance between the swagger of their late ‘90s work with the more melancholy sound of recent years.

Above all else, Only Run feels full of this type of energy, the desperation and freedom of needing to prove yourself again.

Despite the album having a bit of a different texture than his past couple, it’s still atmospheric and soothing.

Flaws and all, Three is where Phantogram has stepped up, projecting themselves as chart-conquering hedonistic demigods despite their lyrics conveying an absolute crippling unhappiness.

Barbara accomplishes something pretty rare. It successfully combines the best elements of two very different predecessors into one complete sound. Every track on this album isn't a total winner, but enough of them are to leave a strong overall impression.

As they prove yet again with their latest triumph, Paper Gods, Duran Duran is one of the most consistently entertaining bands of our generation.

This is a promising album, one which refines prior approaches and shows what Jenkinson has learned and incorporated into his arsenal in the last few years, presented in a careful, focused package.

Whilst it's obviously no Dog Man Star, Brett Anderson's tenth round rings the bell for a local hero with spirit reborn, heart aflame, trash talkin' and eyeing the prize once more.

Portamento will charm you, hug you, haunt you and yes, sometimes baffle you whilst offering further proof that they are a more fascinating proposition than many give them credit for.

For listeners of any act from Miwon to M83 to Dominik Eulberg, Boratto’s work is exemplary of seasoned musicianship and refreshing unpredictability in sound, and these sleek, ceiling-scraping missives are almost too grand--ingest small, careful servings and repeat as needed.

Ray Raposa couldn’t stay in the City of Refuge, but he captured the best parts on this album and shared them with us.

The Road: Part II (Lost Highway) is one of Lavelle's most demanding projects. With the ever-growing list of collaborators and increasingly ambitious concept for the trilogy, Lavelle navigates a multitude of concerns, structurally and aesthetically.

Sloganeering is fine as long as the music makes you dance, which Thunderheist does.

At the very least, the album should convince diehard Lynch fans that the director’s self-imposed, semi-retirement from filmmaking is bearing some very interesting artistic fruit indeed.

Graffiti on the Train is a marvelously realized, tightly played album.

It may be true that That Dog and Cibo Matto only had limited commercial success and critical acclaim, but the sounds of Salt on Sea Glass indicate that they've both matured and outgrown the sound of their previous incarnations.

It speaks volumes that, despite their often silly perspectives, these songs still manage to be weirdly affecting.

This isn't just an Apples in Stereo album on high speed, it's an album crafted to project the fast and fun feeling of a live show.

What can be concluded at this point is that, minor lyrical complaints aside, they have crafted their most consistent album and one of the best genre-blurring club records since M.I.A.’s "Kala."

All in all, Head Carrier is a collection of lessons, experiences, sounds that exemplify the essence of fun rock ’n’ roll.

With their new disco grooves and darker shades, the Swedish octet has stepped into the sunlight.

['Pork and Beans'] is the best geek anthem this side of whatever MC Chris’ last hit was. The rest of the album may try men’s souls, but if you ask me the verdict’s still out.

It's true that Encore represents a drop-off in lyrical attention to detail from Mathers, and even 2002's The Eminem Show. But Mr. Shady is still the best MC on the planet, and Encore is still a lyrical tour de force, even if there's not as much de force as on previous records.

The Third Gleam poses many questions and offers few answers. But that's OK. This isn't a down-home self-improvement resource or some vanilla background noise you can dip in and out of. It's earnest and raw and surprisingly delicate.

It’s an album sure to please the long-time fans, but so damn fun and hook-filled that it should find a following in the larger indie rock community. This is an album you can build a career around.

It's filled with plenty of fresh oriental tunes that will seduce your ears into a brief respite from traditional forms of metal.

The end result, though diverting, is a slightly uncomfortable mid-point between the two albums. And Life Processes could quite possibly be a transitional album, a first step in a bigger, bolder direction that doesn’t quite let go of "Give Me a Wall‘s" quirks; only time will tell.

Paradise is best enjoyed as a follow-up EP of b-sides and bonus material.

Not only does Young accomplish his goal of creating a musical storyline that transcends the tedium and self-indulgence of your average concept album, but he's also crafted his finest set of songs since at least Freedom and Ragged Glory.

The most versatile tracks are not always the most immediately successful, but they’re gratifying nonetheless.

Reality Check won’t change the world, but it will make the lives of new-found fans a little more special.

The foursome's dedication to songcraft and atmospherics resound through the record, qualities that should mark them as a group worthy of being the wheat among the chaff.

One of their more intriguing works to date, capably blending vocal theatrics, spritual exploration and subtle songcraft in one sitting.

Carey does not completely hearken back to her old days, but The Emancipation of Mimi does prove her staying power.

This will be a welcome compilation for veteran Sparrow watchers, since it puts a frame around a fruitful period of important, if frequently uneven, recordings. For the more casual listener, however, a better introduction will include some of his work from the '50s.

They are breathing new life into a classic sound, but they have the potential to make a new sound.

A string of songs offering glitchy low-beat techno, classical and ambient styles, Blue Film offers a great deal to those expecting something different in their musical diet.

While there are a couple of moments of over-singing and vocal affectation, Introducing Joss Stone is a dramatic leap forward creatively, without straying too far from the sound that made Stone famous.

Rituals is a very good album when it’s on fire, and while the band might not have quite grasped the album concept yet, it serves as an interesting counterpart to latter day M83.

Although not a masterpiece like My Beautiful Dark Twisted Fantasy, ye shares an abbreviated, yet complete look at Kanye, both the highs and the lows.

Endless Wire turns out to be more effective and more coherent than it has any right to be.

It’s that intangible quality that Lemmy brings to every single Motorhead record, something the superb Motorizer has, ‘scuse the pun, in spades.

[Mraz] is taking the true-blue pop rock formula and expanding on it in ways other, less competent musicians fail to do in today's world of watered-down songwriting and formulaic radio.

All of the qualities that make Stereo Total so darn charming are all here.

There are enough moments on this debut to make you think that Gardens & Villa might offer an even more satisfying emotional connection on its next album, with or without the flute.

There are clear flashes of brilliance here that convince me that Dale Earnhardt Jr. Jr. is on the verge of something bigger.

Lonely Avenue has to be considered a big success for both artists.

While not as gloriously soulful as Original Soul or Nothing But The Water, it's an influential rock album that could and should lead to mainstream success for the New England group.

The group has meshed all their skills acquired over the years into one vast and varied yet solid structure.

I find myself pleasantly surprised by just how catchy and accessible the album is.

It's the strength of the lyrics that brings each song to a place the group hasn't truly been before on a consistent basis.

By no small stretch, Drift is the Men's most spacious album to date, but it's addition by subtraction, as this particular set of songs wouldn't be as strong if they were played with more muscle.

So all in all, it’s nice to see that forty-plus years on, at least one member of Suicide is still making bold, challenging, daring music, and you’ll probably struggle to find a more groundbreaking album than Stigmata in 2010.

Jepsen proves she has more talent than half of the stars out there, managing to not only sell virtually every word on the album but also managing to make it all sound off-the-cuff and effortless, ultimately creating a bubbly pop playground that is both catchy and endearing without having to turn base or crude to get there.

After a four-year lull, Hozier needed Wasteland, Baby! to recapture the energy created by his previous releases then further light the artist's skill and vision of his craft. Wasteland, Baby! certainly delivers while edifying the artist as an impactful voice in the art and activism sphere.

Purple Noon isn't the mindless bliss of programmed Spotify algorithm music but the comfort of hanging out with an old friend.

It’s hard to pull off this kind of stuff successfully, anyway, but it’s even harder when you have to battle the preconceptions that come with initially making your bones as an actor. Hugh Laurie overcomes all those obstacles with a collection that doesn’t reach too far beyond what it wants to do (and for that type of self-awareness alone the whole thing should be lauded).

In American art, a good time is often the most profound thing there is. Here We Go Again hints at this possibility, but pulls up just a little short.

Just as Cave's Grinderman has toyed with the idea of how older artists should behave, Grinderman 2 RMX toys with the concept of the remix and proves that reworkings need not be danceable, they just need to appear a bit bruised.

It’s essentially front-loaded, packing its most powerful punch in the first few tracks and then simmering to a lower level of heat.

As the title implies, I'm with You is a love letter from the band to itself. It's also a token of appreciation to the Chili Pepper fans that have stuck by the band through countless line-up changes and solid reassurance that the band is still vital without John Frusciante.

They may be playing things that have already been heard before, but it’s a real pleasure to hear their take on the past.

Many tracks are so entirely committed to pastiche that they almost approach the level of uncredited cover.

One of Kelly’s funniest and funnest records to date.

Like his best work, Eat Me, Drink Me is as fun as it is cartoonishly scary.

There’s an impressive yield of ace tracks from the hand of the always-reliable Kelly Jones.

It's just plain good party music.