This type of rough-spun music isn't for everyone, but Among the Leaves is a valuable effort regardless of its pockmarks and dogged minimalism. Enjoy at your own risk.

One of the most satisfying, a nearly unclassifiable mammoth of sound that manages to weave brutality, atmosphere, and aching melody into a body-enveloping cocoon that sticks around longer than the average Hollywood movie.

Each track stands on its own; there is no filler, and it highlights each musician's strengths.

Come for the shrill dopamine triggers like you knew you would, but stick around for the miles and miles of quiet rolling country rendered in this multitalented artist's flooring instrumental sweeps.

Advaitic Songs is Om 2.0's second full-length album, and it is far and away the most entrancing document the band has released.

Despite a sharp shift in direction, the spirit of Ascent floats--sometimes upwards, at times skittish and swooping underneath clouds--but nonetheless rising.

On Devotion, Ware demonstrates a knack for weaving everything together. And just like in the best-tailored clothes, it's difficult to see the seams.

Spring is using her EP to carry on the torch until they can reunite, and producer Jorge Elbrecht (of Violens) provides adequate reinforcements for Spring's filmy sound.

God Forgives, I Don't is slick, large, and sounds like wealth.

If you like rock tunes with sharp melodies and earworm choruses, Researching the Blues isn't likely to give you anything to complain about. It's an album that feels, at its best, effortless. Other moments, however, feel too effortless, and as a result there are some missed opportunities.

The Ohio-based band led by singer/songwriter Jerry DeCicca bears its share of melancholy and then some on their fifth album, but so do a million and one other indie bands, and none of them come anywere close to evoking the same sort of sad-sack super session [like one with Lee Hazlewood, Townes Van Zandt, Stuart Staples from Tindersticks, and Mickey Newbury].

Unlike the surreality of their peers, distant and hiding behind static, múm is entirely here, wholly present and astoundingly beautiful.

Levi's gift lays in kitschy nuance that is inherently pleasurable. And by diving into more conventional songs on Never, she loses a bit of this endearing personality.

There's a true songwriter's ear buried beneath all the fist-pumping, and it relies on a well-honed melodic sensibility that borrows on classic power-pop tropes but introduces impressive key and tempo shifts.

While maintaining a slick vibe embodying the sultry lowlights of an unsuspecting loft party, Foals' Tapes are nothing particularly groundbreaking--but sure as hell an intoxicating listen.

You will not hear another album as straight-forward, unburdened by emotional distance and downright open as this one this year. And that's Major.

ike Animal Collective, Copeland's work is musician's music, geared toward the adventurous listener with a trained ear and a tendency to enjoy music as, well, an expansive, ever-shifting experiment.

At its best Gossamer is, like its namesake, delicate at first glance but possessed of incredible molecular strength.

Without sacrificing any of his detailed, anecdotal lyricism or thoughtful keyboard arrangements, Advanced Base managed to construct a record you can play over and over again without feeling so sorry for yourself.

At times, Life is Good is Nas' most satisfying album since God's Son, and at times it is just as flawed as its predecessors.

Keeping the music simultaneously lush and light is a good choice for songs that prominently feature people moving too fast and making weighty decisions that would seem reckless if they weren't so endearingly passionate.

It strikes a perfect balance between musical invention that will leave you cupping your ears, semiotically puzzling lyrics that will leave you scratching your head, and catchy pop style that will leave you tapping your feet.

At its core, Mostly No prioritizes songcraft above bare texture, and Cohen's willingness to temper eruption with meditation sets Milk Maid apart from many of its buzzy peers.

This is still a consistently great set of songs, and the album another major accomplishment for Aesop Rock--but it's still there on the edges, keeping a great record from becoming another classic from one of our best working emcees.

It's a perfectly serviceable and enjoyable post-metal/rock album that makes no real mistakes, and does manage to tweak the knobs of the formula ever-so-slightly.

Ultimately, BEAK> are only interested in that quasi-mysticism that endless jamming affords.

51 is a damn fine mixtape... one of this young year's best.

White is an accomplished storyteller – and stories and music both represent the best of what a ghost can be: incomplete presences, something that seems substantial in the moment but disappears in a matter of minutes, leaving only an impression in your mind.