Editors' Choice for April 2014

Debut album that blends '80s synth pop, '90s noise pop, and classic indie pop into a bright and hooky modern mix.

— Tim Sendra

Both readings here are tremendously exciting, and the musicians do a good job of getting these two works to belong together.

— James Manheim

First album of new material in eight years from this strange electro-acoustic/folk hybrid.

— Fred Thomas

Hear the delicious sounds of the singers' voices clashing in linear harmony in this introduction to the polytextual motet and chanson around 1300.

— James Manheim

Jocie Adams' new band debuts an album of brilliant, accessible songs that streak across pop, folk, jazz, classical, rock, and more.

— Thom Jurek

Singer/songwriter embraces the joys of off-kilter pop and noisy rock, and well as the sorrows of failing relationships.

— Mark Deming

Having checked many other genres off their list, Boozoo conquer ambient dub on their excellent effort 4.

— David Jeffries

On its fourth album, the band returns to Blue Note and goes deeper into its exploration of song forms through modern jazz.

— Thom Jurek

The debut from the Danish songtress evokes the Old English word uhtceare, which means to "lie awake before dawn worrying."

— James Christopher Monger

The former wild child of the Carter Family puts her own stamp on their songbook, with strong, emotionally compelling results.

— Mark Deming

A rip-roaring tribute to the Bard recorded by the former Dylan sideman.

— Stephen Thomas Erlewine

Going beyond his trip-hop cover of "No Diggity," the Australian producer offers a debut album filled with rich and restrained music.

— David Jeffries

Action Bronson, Ab-Soul, and others join the Cool Kids member on his flashy and fun solo debut.

— David Jeffries

Equally fiery and committed, Cloud Nothings' fourth album is sustainable punk.

Spare, warmly melancholic solo debut from the leader of Blur and Gorillaz.

— Stephen Thomas Erlewine

Grammy-winning Minnesotan songwriting hero finally delivers his strong second solo album.

— Timothy Monger

Field Music's David Brewis returns with a second solo album of complicated pop that's bright and intimate, with lots of twists and turns.

— Tim Sendra

Impressive collection of mid-'60s sides from the actress and model, showing she was a gifted vocalist as well.

— Mark Deming

Fourth album of shambling, muted chamber pop recalls the most introverted moments of Soft Machine and John Cale.

— Fred Thomas

EMA's ambitious second album explores the relationship between identity and the Internet in dazzling, often affecting vignettes.

— Heather Phares

Second album successfully ups the ante for this Memphis garage punk crew, sounding leaner and more expressive in round two.

— Mark Deming

Incredibly catchy and dark proper debut by this U.K. indie pop group builds on their brilliantly raw singles collection.

— Fred Thomas

Sixth solo album from this pioneering electro-acoustic musician sees him revisiting the heights of his most pop-leaning work.

— Fred Thomas

The legendary Floor reunite on Oblation, an album of heavy drone-pop that more than lives up to the band's stellar debut.

— Gregory Heaney

The weird and wobbly rapper returns with an excellent sophomore release featuring Drake, Kanye West, and others.

— David Jeffries

With a cool, swaggering delivery meeting material that's edgy and sharp, Buress ups his already great game on this hilarious album.

— David Jeffries

Zimmer strikes a nice balance between the faded glory of Spidey's comic book origins and the high-octane assault of the 2013 summer blockbuster.

— James Christopher Monger

Irish twins deliver an earworm-heavy collection of electro-folk-pop confections that should please fans of Tegan & Sara, Lorde, and Haim.

— James Christopher Monger

Thunderous sophomore release from these Scottish hard rockers is cosmic and brutally heavy at the same time.

— Mark Deming

For her debut on Linn, Ingrid Fliter presents the two piano concertos of Frédéric Chopin in the hybrid SACD format.

— Blair Sanderson

A robust production, with an empowered vibe and catchy, infectious material.

— Matt Collar

Demo recordings made by the influential jazz bassist two years before his landmark debut album.

— Matt Collar

Tireless art punk duo capture some of the raw energy and optimism of their live show on this fast-paced full-length.

— Fred Thomas

Chiefly produced by Machine Drum, this offers the best yet from the poetic, breathy-voiced alternative R&B gallant.

— Andy Kellman

All the hilarious jokes about food are no surprise, but the comedian also steps outside his comfort zone on this excellent album.

— David Jeffries

The Swedish duo play to the back of the room on their epic fourth album.

— Timothy Monger

Bitter but literate tales of lives in the balance dominate this album that finds Langford in especially strong musical form.

— Mark Deming

Ravel's Ma mère l'oye and his orchestration of Mussorgsky's Pictures at an Exhibition are performed on early 20th century instruments.

— Blair Sanderson

Violinist Julia Fischer and pianist Milana Chernyavska present a delightful recital of works by Spanish virtuoso Pablo de Sarasate.

— Blair Sanderson

Expanded version of the sole solo album from this onetime teen pop star and future Raider.

— Mark Deming

The certified chef's sixth studio album is one of her best releases, a fruitful alliance with TV on the Radio's Dave Sitek.

— Andy Kellman

This is an entirely novel treatment of Henry Purcell's music that may appeal greatly to experimentally minded listeners.

— James Manheim

In general, though, this is a major, original statement in the field of the exhaustively recorded Beethoven concertos.

— James Manheim

A joyous celebration of the blues, R&B, jazz, and swing that accounts for Russell's unique style.

— Stephen Thomas Erlewine

This ebullient release makes an ideal introduction to the French music of the middle 18th century. Highly recommended.

— James Manheim

Canadian goofball grows up alongside his lighthearted but deceptively complex pop style, offering his most consistent set of songs as he ponders aging.

— Fred Thomas

Esfahani is emerging as a major star on his instrument, and this recital offers an ideal place to start with his work.

— James Manheim

Bristol's sonic tricksters return with a vengeance, adding a final chapter to their Ugly trilogy.

— Timothy Monger

The Atlanta outfit digs into a deeply felt, post-hardcore melodicism on their fourth album.

— Matt Collar

The live sound here is impressively clear, and in general this is a marvelous statement from the last months of a great conductor's life.

— James Manheim

Engelbert Humperdinck's fairy tale opera, Hänsel und Gretel, has enjoyed nearly universal popularity since its premiere in 1893.

— Blair Sanderson

Pollini gives a thoughtful and controlled reading of Brahms' Piano Concerto No. 2 with Thielemann and the Dresden Staatskapelle.

— Blair Sanderson

The Micachu & the Shapes frontwoman's first score and solo project is a brilliantly simple study in terror and tension.

— Heather Phares

Three modern masterpieces by Hindemith, Prokofiev, and Bartók are presented with vitality by Michael Stern and the Kansas City Orchestra.

— Blair Sanderson

Sixth solo album from Dirty Projectors bassist makes brilliant use of space and pristine string arrangements.

— Fred Thomas

Medeski, Martin & Wood meet up with Nels Cline for an improvised session that's even better than it looks on paper.

— Sean Westergaard

The Nels Cline Singers fifth album shows that they're still making some of the most interesting, adventurous, genre-smashing music of the early 21st century.

— Sean Westergaard

On their third album, Neon Trees have fun with their emotional crises, resulting in some of their best and most heartfelt music.

— Heather Phares

Nikolaus Harnoncourt's 2014 Sony release offers three of Wolfgang Amadeus Mozart's compositions, connected to his years in Salzburg.

— Blair Sanderson

Hardcore is back and sounds better than it did in the old days on the second official long-player from these punk rock veterans.

— Mark Deming

Rough, rowdy, and sounding like a boozy boys night out, the band's 10th album is one of their toughest and best in years.

— Mark Deming

Boisterous and airy debut from Montreal post-punk collective feels as refreshing as a spring day.

— Fred Thomas

"I gotta go swab my folds" is added to the list of awesome Oswalt catch phrases thank to this hilarious effort.

— David Jeffries

On his Atlantic debut, the Leeds-based singer/songwriter erects an elaborate dream pop soundworld to house his artfully written songs.

— Thom Jurek

Outstanding debut album from Wisconsin-based band that cracked the code of classic U.K. freakbeat.

— Mark Deming

Third proper solo album from pioneering space disco producer is a collection of classic, galactic, electro-brilliance.

— Fred Thomas

Second album from Detroit post-punkers expands on their furious beginnings with more nuanced moods and production.

— Fred Thomas

Political boom-bap is alive and well thanks to this N.Y.C. hip-hop crew and their revolutionary debut.

— David Jeffries

This set of road-weary, brooding highway songs is the late-blooming songwriter and guitarist's finest offering to date.

— Thom Jurek

After two collaborative recordings, the singer/songwriter returns solo with an excellent collection of new songs.

— Thom Jurek

With their first new material in five years, the acoustic duo deliver fierce, beautifully articulated tunes melding their musical roots with expansive creativity.

— Thom Jurek

On his stellar debut, the acoustic guitarist and songwriter draws freely from his inspirations and recombines various musical traditions to reflect his own image.

— Thom Jurek

Debut album of pained, glacial brilliance from this soulful electronic producer/songwriter.

— Fred Thomas

Third album from this Montreal quartet is a marvel of punk power, pop hooks, and precise, energetic musicianship.

— Mark Deming

All-star-heavy indie band gets bigger, brighter, and poppier on their second album, to fine effect.

— Mark Deming

The producer's second full-length offers a more dynamic, disciplined take on his sunny moods and watercolor melodies.

— Heather Phares

Inspired by '90s R&B, TEEN focus their experimental leanings into a set of exciting, ambitious, and womanly songs.

— Heather Phares

Teodor Currentzis' historic recreation of Mozart's Le nozze di Figaro may be the most thoroughly researched and exciting version available.

— Blair Sanderson

The group limits its use of vocalists to Ellla Thompson and Kylie Auldist in an inspired set of gritty psych pop and retro soul.

— Thom Jurek

Indie rock legends Ted Leo and Aimee Mann collaborate on a batch of brainy and hooky songs that showcase the best of both artists' work.

— Tim Sendra

Comprehensive overview of the British pop vocal ensemble's career, featuring both their albums in full plus rare singles.

— Mark Deming

Sean Lennon and Charlotte Kemp Muhl reach the next stage of their creative evolution on the warm and psychedelic Midnight Sun.

— Gregory Heaney

A fun collection of early singles from the sadly defunct, monster-obsessed punk-pop combo.

— Tim Sendra

This all-star musical theater revisioning of the Brothers Grimm fairy tales -- via Anne Sexton -- is dark, funny, engaging, and seductive.

— Thom Jurek

Black Mountain's Stephen McBean's fourth outing under the Pink Mountaintops moniker is a wild unruly gem.

— James Christopher Monger

Tudor church music may never compete at the cash register with Bach or Josquin, but this is a loving and lovely performance.

— James Manheim

Timber Timbre's fifth album is a potent cocktail of menace, glamour, and vulnerability.

— Heather Phares

A fitting tribute to a heavy metal legend from friends, family, and (famous) fans.

— James Christopher Monger

With the help of Tim Goldsworthy's production, the band's third album is its sleekest, most danceable, and best to date.

— Tim Sendra

Third album from this soul-inspired indie songwriter takes a turn toward darker, more insular sounds.

— Fred Thomas

Sixth album from dusty psych-folk collective features expanded instrumentation and sharper production.

— Fred Thomas

The duo successfully revamps its sound on its fourth album, chucking out guitars and indie rock in favor of synths and subtle adult pop.

— Tim Sendra

A brightly warped take on left-field electronic R&B that has none of James Blake's mopiness or the Weeknd's skeez, and more catchy songs than either.

— Tim Sendra