Kathleen Edwards co-produced her fourth album with Justin Vernon of Bon Iver, jettisoning country rock in favor of gauzy production and a band that includes Vernon plus members of Megafaun, Francis & the Lights, and Peter Wolf Crier.

The cool, disaffected Welsh avant-pop chanteuse's second album is more playful and irreverent than her debut, a 2009 collection released by collaborator/mentor Gruff Rhys of Super Furry Animals.

Lupe Fiasco's new mixtape samples Justice and M83 and shows a strong interest in aggressively macho dubstep. For about a third of it, you feel actively punished for paying attention.

Over the course of a decade, the highly regarded ultra-technical instrumental-metal outfit Loincloth's discography totaled four songs. The N.C.-Va. trio's debut LP leaves room for a broader audience to hear what the fuss was all about.

On this debut LP, the young New York City native Alec Feld-- whose voice wouldn't sound out of place on a Wolf Parade or Animal Collective anthem-- creates synth music with a sleepy grandeur.

Trent Reznor and Atticus Ross follow their award-winning score to David Fincher's The Social Network with this bleak three-hour The Girl With the Dragon Tattoo soundtrack, a sprawling mass that exceeds the length of the film it was meant for.

Fresh from his most recent dalliance with hard time, this mixtape-- featuring guest spots from Young Jeezy, Nelly, Dr. Dre, and others-- finds T.I. back in the scrappy mode of his early days.

It's arguable that even Wiley can't remember every track he's released in the past half-decade, but the grime godfather's new LP is one you should play closer attention to.

In 1994, Eric Matthews and Richard Davies released an influential chamber-pop album under the name Cardinal. Almost 20 years later, they've reunited for its follow-up.

One half of Memphis' legendary Three 6 Mafia offers a continuation of his two collaborative mixtapes with Lex Luger, a druggy 28-track album featuring guest spots from A$AP Rocky, Spaceghostpurpp, and Kreayshawn, among others.

After the explosive and decadent A Brief History of Love, the Big Pink return with an album that aims for positivity and a deeper connection with their audience.

Armed with passable productions and an uneven roster of guest stars, the Wu-Tang dynamo's first full-length release since 2011's Shaolin vs. Wu-Tang LP rarely smacks of anything like victory. The sound's too lousy-- and the stakes too low-- to live up to his past glories.

The Norwegian space disco producer follows last year's surprisingly sticky Ragysh EP with a refreshingly clean four-track EP composed with an ARP2600 analog synthesizer.

The San Antonio producer, who records cinematic sorta-dance music as Mexicans With Guns, offers post-rock for the Flying Lotus generation on this new solo LP.

The Swedish psych-folkie and beet farmer follows his brilliant 2005 debut Moonlight Farm with a more electric, more rock-inclined offering that finds him returning to the earlier record's evocative terrain without repeating himself.

Rick Ross' new mixtape, possibly his best full-length, finds the Teflon Don moving out of his comfort zone and entering a world where it feels like something is at stake.

From 1992 until 2002, the mysterious electro outfit Drexciya created not only some of Detroit's most original, enduring electronic music, but one of techno's greatest myth systems. This compilation-- the first in a planned four-volume anthology-- serves as a crucial introduction.

Following the success of last year's polarizing Far Side Virtual, James Ferraro puts out a free, victory lap mixtape, one that finds him developing a mutant strain of mainstream rap and R&B.

Dubstep pioneer Rob Ellis' exciting entry in the Fabriclive series occupies a many-limbed vaguely house, vaguely techno hinterland: It's damaged, blackened, and foreboding, no matter what genre it might be interrogating.

In the hushed tones of this brief collection, the young Fort Lauderdale electronic songwriter Malcom Lacey dramatizes the process of a gentle person grappling with dark thoughts.

Unlike the previous Alone iterations, Alone III: The Pinkerton Years feels like an actual Weezer album rather than Rivers Cuomo's yard sale. It's a bracing, imperfect reminder of a time when music was something Cuomo couldn't live without.

This remarkably consistent, 25-track collection of bits and bytes from assorted past Oval eras flies by in an easygoing blur, rendering sounds in a fluid and volatile technicolor that's missing from even the project's classic records.

The goofy Harlem rapper and Cam'ron sidekick's new mixtape delivers what the original Slime Flu did-- high-speed, tightly realized, pugilistic goon rap-- to nearly as entertaining results.

Feeding Tube teams with Mars bassist Mark Cunningham to offer the entirety of his no wave band's two-set performance from the 1978 Artists Space festival, the same event that led Brian Eno to compile his scene-defining compilation No New York.

This set of 12 exclusive tracks, which offers a portrait of the current house music talent operating in or originating from Amsterdam, is filled with raucous, 4/4 shakers born in the 1980s in Chicago but possessing updated wardrobes.