Lou Reed’s 1973 studio album, Berlin, a follow-up to the widely acclaimed Transformer, failed to capture the same praise and accolades as that gender-and-music-bending endeavor. But 25 years on, Berlin is now recognized as one of Reed’s finest, most ambitious, and under-appreciated efforts.

This is The Pretenders’ first release since 2002’s Loose Screw, and the band’s second for an indie. Chrissie Hynde recruited a new band here, including famous session drummer Jim Keltner.

Isobel Campbell and Mark Lanegan’s first album-length collaboration, 2006’s Ballad of the Broken Seas, seemed almost too good to be true—a chance long-distance pairing of the ex-Belle & Sebastian siren and the grizzled Screaming Trees/Queens of the Stone age rocker, with a sound deeply reflective of Campbell’s old Lee Hazlewood/Nancy Sinatra records.

The Postmarks love paper-thin John Barry arrangements and this stop-gap covers album continues that trend. As the album’s title hints, Numbers’ track titles successively ascend.

Originally conceived as a solo vehicle for the songs of Versus guitarist James Baluyut, +/- has gradually evolved into a more cohesive band unit with each succeeding effort.

Despite the bad name and the horrendous album title, this Denver 11-piece’s debut is an exuberant slice of experimental indie-pop.

In 2007, Rage Against the Machine guitarist Tom Morello reinvented himself as a Woody Guthrie-esque acoustic guitar strumming protest singer and rechristened this new self The Nightwatchman.

Megapuss is one bizarre decision after another. This shouldn’t surprise people who have followed Devendra Banhart’s career.

Magnetic Morning is a songwriting collaboration between Adam Franklin of Swervedriver and Interpol drummer Sam Fogarino, borne of mutual admiration of each other’s work.