On his third Moonface LP, Spencer Krug spills his peculiar, particular lyricism over solitary piano.
Ditching the twitchy glam-funk and sex-talk, the 12th Of Montreal laces weary county-psych with bitter lyrics.
Cass McCombs sprawling double-album feels far more like a slog than a joy.
On his fourth solo LP, Here We Go Magic's leader joyously chases oddball ideas and '80s-pop pastiche.
17 years after their last LP, Mazzy Star return, sounding like no one but themselves.
The more-electronic second LP for Braids is another trance-out in repetitious figures and inscrutable moods.
Once famed for their uptight rhythms, Franz Ferdinand sound relaxed on their poppy fourth LP.
The second Volcano Choir LP inches closer to the second Bon Iver LP, repaving post-rock with golden vocals.
Sebadoh's first album since the '90s is indie-rock loud, proud, and cleaner-sounding.
After the breakup of Cryptacize —and her relationship— Nedelle Torrisi gracefully finds her soft-rock way.
'Ultramarine' is populated by young dreamers dealing with the sadness of growing up.
No Age's fourth album explores unexpected soundscapes, using noise as a compositional tool.
'Loud City Song' finds the Los Angeles composer writing songs for the metropolis.
Swans' monstrous 1987 double-LP found the abrasive noiseniks fashioning an epic symphony of dread.
Julianna Barwick recorded her 4th LP in Iceland, but it sounds like it was made on a cloud.
The debut Boards of Canada LP was an evocative study of fading technology and fading memories.
Her dramatic second solo LP finds Hval exploring sexuality and humanity over beautiful, experimental arrangements.
The director-turned-musician's second LP boasts buzzing-fly bar-blues that doesn't measure up to his cinema.
Drawing from R&B and karaoke, Arthur Ashin belts out an obnoxious, yet sincere, take on breakup ballads.
The second Surfer Blood record is darker and slicker, but its joyous indie-rock seems somehow joyless.
Devon Welsh will sign for you. On the third Majical Cloudz LP, Welsh's voice rings out amidst haunted minimalist.
Where once they smuggled darkness into steel-pan-dappled pop, now The Knife just sound disturbing.
Be gone wafty elfin ambience! On their 7th LP, Sigur Rós sound noisy, angsty, and aggressive.
The second LP for the electro Canadians is a heartachin' dancefloor odyssey, brilliantly produced and powerfully sung.
At the end of a breadcrumb trail of cryptic clues, 'Tomorrow's Harvest' turns out to be BOC's most ambient LP.