"We Don't Even Live Here" is P.O.S.'s boldest release to date, and it's set to make an impact on a national scale with or without a tour to support it.

The announcement of Solid Gold's new album came less than a month before the record hits shelves, proving our hometown boys have heard our pleas and wanted to get the record into our hands as quickly as they could.

On Charmer, Aimee Mann's soft-rock approachability creates an interesting meta-experience: she's charming the pants off of us, just like the cads and ne'er-do-wells in her songs.

"Shields" carries the same lush harmonies and dramatic crescendos as their previous releases, but the band has reached a new stage in their career as lyricists and song writers.

On his 35th studio album, Dylan sounds like the old bluesman that perhaps he has always wanted to be.

The worldwide touring behind "Sigh No More" informs songs on the new record that approach the epic scope of the Arcade Fire while still remaining striking in their intimacy.

On "Coexist," the xx has largely opted to continue exploring the musical landscape they sketched out on their 2009 debut. It's a wise choice.

Politically charged albums can sound preachy if handled clumsily, but Brother Ali's relaxed and conversational cadence showcases his personal approach to sociopolitics and his skill for presenting intellectual ideas in a universal language.

"The Carpenter" is more introspective, personal and authentic — a sign that the brothers aren't young bachelors anymore.

On "Sun," Chan Marshall has become the rock star we've always needed: raw, evocative, outspoken and awe-inspiring.