Art Angels is the kind of album that simultaneously captures its era, is made all the better for it (this 35-year-old Beatles fan would’ve given her nothing but bad advice), and obsolesces it overnight.

This is Beach Slang’s core problem: they are constantly telling, never showing.

While B’lieve I’m Goin’ Down, at least as far as its words are concerned, is more interesting than it appears on the first few spins, that’s not quite enough to make it a memorable listen.

If He Dies is not only the best iteration of Moumneh’s sound to date, it’s also the clearest showing of his motivations.

Faith in the Future disappoints in its lackluster melodies and overall vibe. The highlights here are the more ambitious songs.

The result is a nearly anonymous album of stellar pop music, one where it seems all the attention was placed not on positioning Carly Rae as a cultural force, but on making sure Emotion makes you smile.

A modern pop echo chamber, In Colour pushes the pleasure principle with ease, intelligence, grace, and a myriad of reflections that become one spectrum. RIYL: anything.

Who Me? is another quirky entry in Wauters’s unique discography. But it’s also his most honest, delicate effort to date--two good qualities for a musician with so much natural charisma to explore.

Freedom Tower is a Blues Explosion record, no doubt, and in that sense it’s not for everyone.

It draws a subtle focus and then recedes from the record without resolve. Its tensions remain. If Sufjan is a perfectionist, he is now perfecting the art of stumbling, creating melodies that writhe with uncertainty and voices that echo back on themselves.

Rather, it is not a rap album; it is the absolute rap album. There is craft here (and in fact this is the most musical mainstream rap record since Aquemini) but just enough room for it.

Ryan Adams, is up there with his best work because while it doesn’t have a lot of sweat on it, it’s a record that feels clearly considered enough, and carefully produced to maximize Adams’s strengths.

Even at its most seemingly ascetic, The Moon Rang Like a Bell is among the most generous, tender, radiant albums you’ll hear all year. It just wants your ears.

She continues to prove herself anyway, again and again: here throughout twenty songs, and throughout thirty-five years and beyond.

Aside from its musical merits--like, it’s really beautiful--the City Wrecker EP is interesting in a typical kind of meta-Krug way.

LOSE is captivating because it uses all the right tricks.

Tomorrow’s Modern Boxes is actually pretty good, and sometimes it’s great, but it is quiet, sounding very much like it sprung from the Internet ether to politely ask for thirty minutes of your attention.

The tone is set: They Want My Soul gives pleasures immediate and unlocked, a freshly bitten peach dribbling sweet nectar down your chin.

My Everything is so concerned with making a palatable pop singer, it has watered down its subject to the point of tastelessness. It is pop music Bud Light.

It’s melodramatic, yes, but the layers to the narrator of Home, Like Noplace Is There are vast. This guy cycles through a series of emotions, each feeling valid, each feeling like an appropriate result of confusion in the wake of a huge loss.

It’s a fun and somewhat liberating thing to listen to, a horribly frustrating thing to try writing about.

It’s in the songs that teeter on the edge, where the twang feels like the last button pressed before an apocalypse, that Shrink Dust becomes special.

Burn Your Fire stands against records that damage and internalise by sticking to their convictions, instead of meta-analysing and working out where the lines are drawn.

It’s the most welcome of dinosaurs: a top to bottom summertime rock album that sounds equally great on a car radio or in teenage bedroom.

There’s nothing knee-jerk about it; just the inexorable sounds of ideas beautiful and terrible unfurling. It’s a careful, masterful record.

To Be Kind is as vital and unsettling as anything they’ve ever done, and displays a mastery of their craft that seems almost automatic at this point.

A simple record to listen to under the sun that has a couple of knowing winks about going steady and treating your pals right, but nothing you need worry about.

The music Real Estate make is so melodic and plentiful that it could capture any feeling it wanted to--Atlas just transposes their sound into the evening.

It is familiar. It is, despite whatever priggishness keeps some publications from printing the band’s name in full, safe.

Christmas Island shoots you down and makes loathing the same thing as self-loathing. But it’s also inspiring to listen to.

Despite a couple of weaker links, Somewhere Else is extremely well put-together, and spilling over with appealing melodies, wit, and truth.

Despite its big, dumb rock ‘n’ roll template and primary color lyrics, albums like Lost in the Dream can be as restorative of faith in old metaphors and storytelling tropes

G I R L is safe, universal, and unforgivably dull. It should be a huge hit.

People have finally started to give this band its due attention, and with Future Islands’s virtually unmatched ability to make such a wide variety of lived experience sound unwaveringly electrifying, it’s no wonder why.

This is a break-up album, a cohesive work embodying a singular mood, and Nadler, like any great artist, sets the scene with such careful, immersive depth that it can be difficult to the seams in her work until you explore every inch.

The Beets’ simplicity was one of their strengths, but N.A.P. is the sound of Wauters realizing that in music, as in life, complexity brings richness, and often greater rewards.

Her writing on Real Hair sacrifices none of Major Arcana’s verve or crystalline observations in spite of being notably denser, with Dupuis layering syllable over syllable, image over image, until these songs should burst apart.

Transgender Dysphoria Blues isn’t a perfect record, but goddamn if it isn’t an important one, and more worthy of your time than ninety-percent of the more fashionable sounds coming out of whatever Bushwick loft party the Times scopes this weekend.

The charms of Harlem River are hard to explain, as this record thrives on a certain groove, a certain verve, that makes it an overall pleasure to listen to.

It’s the music here, not the sharp-toothed lyricism, which sets the record so far apart from the rest of the field.

Throughout, as ever, it’s Stewart’s voice that grounds the music in something recognizably human, his inexhaustibly elastic voice capable of so much but never able to be anything less than beautiful.

It comes into the world jubilantly, then spends the next forty minutes kicking and screaming against your ideas of what you can landscape it against. It dies with a characteristically quick whimper. No cheap shots against Explosions in the Sky, I promise, but that’s not pretty. It is beautiful.

Hynes expands his melancholy pop palette just slightly enough on Cupid Deluxe to create an album at once slickly cohesive and subtly textured.

The finest songs here are as solid as any other rock music you’ll find in 2013.

Surfing Strange is a tight and coherent little album whose greatest strength lies in its youthful energy and sense of the ups and downs of the early twenties--the lows of uncertainty and malaise, and the highs of excitement and anticipation.

It’s an interesting, intermittently excellent album from a skilled group that could still use a little help in getting out of their own way.

It wavers back and forth between showcasing the band’s strengths and having fun in the moment, more like a live show than a unified statement.

The saving grace of Uncanney Valley is its resolute tenderness, an emotion the band never coaxed out of their twenty-something gloom.

While Lightning Bolt may fall somewhat shy of that goal ["the Best Album"], it is a more than solid effort to satisfy the legions of fanboys born between ’77 and ’84, and a convincing argument for their continued existence.

As a rap record, it excels.

Run Fast has many moments of darkness, but ultimately it’s a celebration: of growing up, of surviving, of wading through shit and coming out the other side.

The Worse Things Get is powerful and assured, and in making true of its promise--to fight harder, and to love one’s self in the face of adversity--it pulls off one of the hardest feats there is.

You’d think that an album with somewhat conventional music that eschews a conventional sense of arc, narrative or otherwise, would come off awkward or ineffectual, but with Stitches there is aesthetic, textural immediacy and, even more importantly, immaculate craftmanship to help it make an impact from the very first listen.

Ejimiwe’s nervous energy makes Some Say I So I Say Light exhilarating, whether it’s a lucid dream or a sleep-deprived reality, and fills it with moments that you might mistake for codas.

A relatively safe debut where much of the takeaway is the salivating at Grande’s potential.

It’s subtly more adventurous, and certainly scarier, in the way that even mundane things are always scarier in dreams, filtered through a disordered mind, revealing painful truths in unexpected places.

It’s an expert turn by seasoned professions thoroughly in their own comfort zone.

It’s an earnest and worthy effort to prove that this band can matter without the PMRC stickering its album cover.

Her confessionalism hits harder with the muscle of her band behind her words.

An Object scales back the ambitious and ostensibly ambient sound of Everything in Between (2010), but it remains gloomily meditative.

Her progression in two short years, from the sonic scarcity of Tragedy to the evocative symphonic grandeur of Loud City Song, hints at a vision we are only beginning to see the full range of.

Sleeker but no less cartoony than her debut, it mixes freestyle house into her signature sound and comes off richer than anything she’s done before.

Even though it’s as proficient as the Dodos have always been, albeit in subtler ways, there’s nothing about this record that feels arbitrary. It’s an album that feels like honesty, or at least a very well done facsimile of it.

To the un-jaded, yes, boring, but to these well-worn ears, Lower Plenty drop some serious knowledge.

Dear Mark J. Mulcahy, I Love You is a triumphantly together record, focused and witty and emotional and present in the way that only someone rediscovering his life’s work can be.

Obsidian makes for a totally immersive plunge and, depending on where you are with your own head when you listen, either a welcome gulp of fresh air in recognition or a chance to hold your breath and dive deeply into life’s darker materials until you have to come back up again.

If this album works, it’s because of moments like “Landslide”: those that cut through the density of an artist in flux, one susceptible to myriad influences, managerial grumblings, and producer cues, overeager to pass off his work as undeniably unique.

As a record standing almost entirely on nostalgia, sure, it gives schmaltzy ’70s dance music a fine, not-sacrilegious update and sets it to a pleasant neon glow, but it’s a trip through history that’s almost more educational than immersive.

The record attempts to fuse dance music and complexity, but doesn’t quite reconcile the two; instead, its mindless thrills butt up against impenetrable baths of sound.

Soft Will is the perfect summer record, hazy and ill-defined and hard to remember but oh-so-euphoric.

While originality may not be high up on Blank Realm’s list of virtues, there’s something engaging about a record this wonderfully crafted and this genuine in its own personal zeitgeist.

There’s a central and important paradox at work here, something that elevates the record above what might otherwise be emo-aspirations of gushy earnestness. Singer Devon Welsh makes himself the first target of an incisive analysis.

Personal Record doesn’t always have the focus and sense of place that made Last Summer great, but it’s pop music on a grander scale, both in sound and theme.

Yeezus is ultimately most repugnant in how it heedlessly collapses all the value dichotomies that Kanye has mined so fruitfully over the years into one bottomless cesspool of narcissism.

Together these four pieces create a single, near-breathless listening experience, robust enough to envelop but varied enough to leave you both craving and curious for more.

While the Knife seem to have outlined a much clearer vision for what they were trying to achieve, they do so, crucially, through experimentation starting outward from their own comfort zones, and with almost zero lyrical element.

She is expressing something ineffable in a way that is consumable and still interesting: the album as starting point, a work that grows with the listener--the gateway drug to thinking differently.

Modern Vampires of the City’s songs rarely feel overstuffed or overwritten, with simple kick-snare drumming, plaintive piano chords, and astoundingly well-recorded vocals at their centers.

Trouble Will Find Me is impeccably sequenced, even at thirteen songs the rare National record that doesn’t contain “the one song they should have obviously left off.”

It’s a humble record, yet one with the timeless appeal to become a classic in league with the work of Waxahathee’s influences.

Monomania is the sound of a healthy and aware group of musicians who have experimented with artifice and ultimately moved beyond it.

Phoenix has somehow managed to follow a universally acclaimed breakout record with one that not only avoids falling flat, but succeeds at creating and sustaining a subtly different atmosphere.

The Terror is an unselfish view of a world free of human manipulation, and as such is a staggering listen to fans accustomed to the Lips’ sheeny pop orchestra and, before that, their lo-fi quirk.

The result would be encyclopedia-thumbing pastiche if it weren’t all so carefully curated, and if the production wasn’t so intricately, lavishly produced that as each track stretches into the fifth or sixth or eighth minute it was not still revealing permutations, secrets, strange little surprises.

RKives as a whole, hopeful and appreciative above all else, a way for the band and the fans to celebrate what they had one last time before returning to the present, to careers already well into the next phase.

Not so much a change of pace as a consolidation and careful re-allotment of her powers.

The result is a collection of great, hard-driving tracks that feel poppier than any of the long-winding snores on that new Justin Timberlake album.

You can’t really blame Bowie for conforming to 21st-century quality control when it comes to the sound and scope of this record, but it’s not exactly something to be celebrated either. What deserves celebration, or at least indulgence, are the glimpses of sublime execution on The Next Day, as well as Bowie’s skill in maintaining his mystique after all this time.

Fans of Angles should rejoice as Comedown Machine is essentially a refined version of that album’s strengths.

New Moon feels a little bit long; though only twelve songs, they are all pretty substantial (especially the eight-minute “Supermoon”), and things lag a little between “The Brass” and “I See No One.”

The result is light as a feather, with laid back songs that would be perfect played live during some lazy afternoon outdoor festival, sprawled on the grass and drinking a cold beer.

Eat Skull can be really charming when they want to be, but just as often they seem content to putter around, resulting in enough slack to overwhelm such a short record.

The third Foals album doesn’t represent a huge leap forward from Total Life Forever’s formula so much as a refinement.

It’s an entertaining record to hear, but at times a devastating one to listen to.

Amok is a palatable piece of 21st Century electronic pop that generally sounds complex without really being that complex at all. It’s as smooth a surface as Yorke has ever painted, without grain or contour. It seems designed to say little, to equivocate, to slither around the perimeter of our expectations.

Every song, for better or worse, is constructed with its own identity in mind, and if nothing else, Mondanile commits to each and every one of these attempts at distinction.

To an extent, this album is too predictable.

Ritzy Bryan’s choruses are as sturdy as they need to be and the songs are an improvement upon those on The Big Roar because they’re lither and punchier, packing more hairpin turns into shorter run times.