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Swedish House Mafia, Until Now (Astralwerks). The Swedes did it again! They went and released an album with enough singles to propel them to work on solo projects ("Save the World" and "Don't You Worry Child" are regular spins for any headlining EDM DJ looking to get a response). But while all three of these artists' solo projects (Axwell, Steve Angello and Sebastian Ingrosso) are gaining momentum on their own, when the trio returns from its break, you can expect a massive reunion tour. — Chester

Taylor Swift, Red (Big Machine Records). Taylor Swift's Red is a massive music machine running on vibrant hooks and an undying belief in the power of love in its various colors. It's her first venture into non-country territory, and she manages surprisingly well. Rock, pop, even a dubstep breakdown — Red is what Taylor Swift sounds like in Technicolor. — Lamz

Tame Impala, Lonerism (Modular). On Lonerism, Tame Impala produces a sound that is born of classic albums of the '60s and '70s — but even as it pays homage to throwback techniques, the act utilizes modern sound technology. The result is something fluid, bright, textural and completely awesome. — Alviani

Tech N9ne, Klusterfuck EP (Strange Music). Tech N9ne took a break between his last album and E.B.A.H. for an exhilarating effort that would blow away most people's projects. Tech displays his above-average songwriting ability and accelerated rhyme pace while adding a solid notch to the lengthy track list that has made him the number-one independent artist in the world. — Valenzuela

Trust, TRST (Arts & Crafts). Many bands in recent years have tried to evoke the sound and feel of '80s synth pop. For TRST, Trust went further and wrote indigo-hued dance music worthy of New Order and Clan of Xymox. Robert Alfons's cavernous voice is the perfect companion to the music's moody yet bright melodies. — Murphy

Ttotals, Silver on Black (Self-released). Silver on Black is the perfect example of what happens when musicians with a deep appreciation for primal rock and roll, psychedelia and experimental electronics write songs that not only reflect those interests, but embody all of those elements at once. A bit like the Straightjacket Fits, only darker and noisier. — Murphy

U.S. Girls, Gem (Fat Cat). With its warm organs, forlorn vocals and a production style ripped from a glam-era Tony Visconti recording, U.S. Girls' Gem is a throwback masterpiece. Meghan Remy and producer Slim Twig overtly channel the past through two choice covers, "Down in the Boondocks" and "Jack," but originals like "Rosemary" and "Slim Baby" prove to be just as terrifying and beautiful. — Davies

Sharon Van Etten, Tramp (Jagjaguwar). Part of the beauty of Sharon Van Etten's music comes from the confessional quality that she shares with many singer-songwriters — she's revealing her soul for listeners to see and dissect — but on Tramp, it's the effortlessness with which she's able to do this that sets her apart and makes the album such an unexpected treasure. — Alviani

Various, Just Tell Me That You Want Me: A Tribute to Fleetwood Mac (Hear Music). Among this compilation of reimagined Fleetwood Mac classics like "Rhiannon" (Best Coast), "Tusk" (The Crystal Ark) and "Gypsy" (Gardens & Villa) are a few versions that fizzle (MGMT's "Future Games"). But when they work, they sound like sparkling-new songs (The New Pornographers' "Think About Me") to even the most casual Nicks or Buckingham fan. — Lamz

Vijay Iyer Trio, Accelerando (ACT). On previous releases, forward-thinking jazz pianist Vijay Iyer has pushed boundaries, from working with intricate compositions to incorporating complex tempos. Here, though, he takes things to a new level. With the muscular rhythm section of bassist Stephen Crump and drummer Marcus Gilmore fueling things, Iyer delivers some extremely exciting playing on this tour de force. — Solomon

The Walkmen, Heaven (Fat Possum/Ryko). After 2008's You & Me and 2009's Lisbon, it was difficult to imagine the Walkmen ever improving on their soulful, indie-billy sound, which has inspired so many tight-jeaned upstarts. Last spring, however, the act put an end to three years of wondering, releasing a collection of mature, airtight songs whose delivery appears at times misleadingly sloppy, yet always hits the perfect emotional and musical note with an ascending alacrity. — Hesse

Wu Block, Wu Block (Entertainment One). This super-collab between Wu-Tang and D-Block is full of hard punchlines, unpredictable rhyme patterns and compelling narratives. Ghostface and Sheek Louch anchor a majority of the songs, but there are plenty of features from both crews and beyond, with Raekwon, GZA, Inspectah Deck, Method Man, Jadakiss, Styles P, Erykah Badu and Cappadonna all making appearances. — Valenzuela

John Zorn, The Gnostic Preludes (Tzadik). Part of a series of albums that are mystically influenced, The Gnostic Preludes finds composer John Zorn enlisting guitarist Bill Frisell, harpist Carol Emmanuel and vibraphonist Kenny Wolleson to beautifully interpret songs that borrow from early minimalism, twentieth-century Spanish music and chamber jazz. Preludes is a stunning yet relaxed album throughout. — Solomon

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