It makes for an often remarkable synthesis of the visceral and ethereal. The nine streamlined, artfully structured songs are patient and less dense, frequently relying on the separation between beats for power.

What drives Super, though, is the duo’s overarching vision, which helps the album flow together like a night at a club: one that Pet Shop Boys exist inside and above, simultaneously.

The music ranges from Beach Boys baroque-pop to the awkward hip-hop flow of “Thank God for Girls” when not reiterating rote (if pleasant) Weezer crunch-pop anthems.

Patch the Sky might not be saying much, but Mould’s putting his all into saying it.

For those on the lookout for alternatives to what currently passes for country music, Midwest Farmer’s Daughter is the latest reason to cheer.

Regardless of the constantly evolving mood, RJ finds new ways to surprise and engage your ears.

Zayn sounds tentative when he’s venturing into lyrical territory beyond his former band’s purview, which compromises the album’s clearly wide-ranging aims.

An unusual but rewarding album.

[A] solid, surprising set.

This confident new album is among his finest works, a terrific showcase for his finely honed, deeply humane songcraft.

It’s a stark, sinewy affair that foregrounds the punk-rock lifer’s voice, a finely weathered instrument, all knowing vibrato and bemused sneering.

Divorcing the music from its maker and inspirations can pose varying degrees of difficulty. But listeners who can imprint themselves on these songs will find much to enjoy in Stefani’s Truth.

It all sounds compellingly real; guitarist Adam Dutkiewicz adds brain-splitting riffs, and the rhythm section of Mike D’Antonio and Justin Foley locks it down hard.

There’s a tremendous amount of preserved intimacy on these unearthed first studio recordings.

Overall, in fact, the music on Good Grief isn’t as expansive as was “Wildewoman.” But it still comes across that way thanks to Wolfe and Laessig, who infuse their performances with a joy that’s almost unfettered, even when wallowing in pits of sorrow.

Eraser Stargazer is exactly the sort of album that pushes a local scene to be greater.

Through 13 glorious tracks spanning back-porch hootenanny sessions to countrypolitan elegance, Lynn proves that at 83 she’s a national treasure who still exudes the earthiness of her rural roots.

In a way, it’s all as tightly woven as his Grammy-winning work, even if none of these cuts fit that album’s meticulous narrative.

LaMontagne plays exquisite lead guitar throughout, backed by James on celestial harmonies that boost the psychedelic mood even higher. The resulting album is soothing therapy.

The architecture of these layered slices of electro-pop is transparent, but the songs never offer more than surface pleasures.

Her new album builds on that idea [multi-hyphenate] in a thrilling way, taking the experimental ideals that she learned as a student of jazz into new directions--heady funk, tongue-twisting soul, sparsely arranged confessional --that consistently surprise.

Like her heroes before her, B.B. King included, Raitt is clearly in it for the long haul, and not content to rely on past glory. Instead, she wisely digs Deep and her listeners are the better for it.

Her third album blends styles in a way that thrillingly recalls the kitchen-sink endeavors of the early new wave era.

The group’s sound has progressed to include ethereal synths, suited to the spiritual subject matter. Deheza’s soothing, breathy voice sits atop this sound as if she’s trying to comfort Curtis about their relationship in songs like “Open Your Eyes” and “On My Heart,” and about his cancer diagnosis in “Confusion.” This album highlights a connection between the two that goes beyond death.

Well intentioned but frequently clumsy (“I want to be Hugh Jackman/ you know jacked, man”), the record demonstrates that the duo’s skills haven’t yet caught up to their ambition.

Mostly, though, Victorious simply colors within the lines drawn by others, scratching the itch of those already inclined to seek it out.

Side Pony is a confident, expertly played statement from a band that’s been honing its approach for more than a decade, and it clearly shows that Lake Street Dive is ready to make itself known to whatever audiences have yet to succumb to its many charms.

The album feels stunningly fresh and cutting edge; expect to see it on some Top Ten lists later this year.