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.

I won't deny Divine Fits the label of supergroup, if that's what it takes to convince you to listen. After all, they fit the profile if you follow their respective bands. Yet, "A Thing Called Divine Fits" isn't about flaunting chops or propping-up egos.

Perhaps after witnessing the rise of EDM here in the States, and the way Skrillex and others use metal rifts as punctuation, Bloc Party thought they could be the rock band equivalent to ride this new wave to further success.

Over the last six years, Baltimore-based duo Beach House has quietly honed a lovely, enveloping sound. On their fourth album, "Bloom," the band delivers the best music of their career.

The guys in The Gaslight Anthem aren't here to save music. They're just a bunch of dudes playing straightforward rock 'n roll without a lot of fancy bells and whistles.

He is a 24 year old with the voice and music of someone three times his age. When you hear his debut album, Michael Kiwanuka could fool you into thinking that you were listening to a long-lost Bill Withers record.

Despite the similarities to "Manners," Passion Pit's new album has transcended any hint that this band has run their course.