Built to Spill’s latest is a true rock opus. Three-plus years in the making, There Is No Enemy has all the hallmarks of an instant BTS classic. If you’ve loved Built to Spill since their work in the 90s, here you will love them still and more. There Is No Enemy’s songs are substantial, with BTS’s beloved guitar attack on the front lines. Evidenced by the somehow-cool “ooh la la” backup vocals on “Life’s a Dream,” BTS shows substantial growth on this new record. Candid lyrics ruminate on loss and boredom, with frontman Doug Marsch’s vulnerability peaking on “Things Fall Apart,” where his voice wavers in the first verse like Elliott Smith’s under the weight of the theme, which gives way to a defiant trumpet solo. No Enemy’s sincerity is as laudable as its rock integrity. (Alex)

The Mountain Goats’ sixth album on 4AD finds them in trio formation: John Darnielle and Peter Hughes are here joined by Superchunk’s Jon Wurster on drums. It’s the most dynamic “full-band” Mountain Goats record to date: parts are as subtle as 2006’s Get Lonely, while others show off this lineup’s ability to cohesively head into uptempo realms. Lyrically, it’s Darnielle’s most devastating work since The Sunset Tree. The songs take their names from Bible verses, titles that are juxtaposed with brutally moving lyrics that don’t shy away from discussions of mortality. And while the two albums don’t have much in common philosophically, The Life of the World to Come dovetails eerily in places with David Bazan’s recent Curse Your Branches: Each explores the need for, and shortcomings of, faith — and creates some compelling music in the process. (Toby)

Bittersweet pop songs? Check. Muted horns? Yes indeed. Vocals that sound like Chris Bell communing through the ether? Definitely. The mood on the Clientele’s fifth album fits in with the fading days of summer: there’s a sense of musical restraint even as Alasdair MacLean’s vocals shift from desperate yearning to crooning ecstasy. The music shifts from keening guitars (the title track) to minimalist dance numbers (“Share the Night,” with its 80s-vintage trumpet) to understated ballads (“Jennifer & Julia”). Bonfires on the Heath is a classic-sounding pop record, neatly structured and wistful in its outlook. Unsuspecting hooks don’t hurt, either. (Toby)

On the heels of last year’s well-received mixtape, Malawian singer Esau Mwamwaya and European production duo Radioclit are back with another diverse collection of infectious Afropop. Mwamwaya’s compelling vocals (sung mostly in his native Chichewa) are at the warm heart of The Very Best’s music, backed by a combination of electronic beats and African instruments. The album features appearances by Ezra Koenig of Vampire Weekend (on the buoyant title track) and M.I.A. (on the electrifying “Rain Dance”). With other highlights including the summery anthem “Julia” and and the ’80s synth sparkle of “Mfumu,” Warm Heart of Africa is one of the year’s best surprises. (Kiri)

Califone’s first new record in three years (supposedly the soundtrack to a film by leader Tim Rutili) continues their distinctive electro-indie-roots-rock explorations, with loops and electric piano dominating some tracks while others are largely powered by guitar riffs, often (and increasingly) acoustic. The electronic textures are organic and complementary but, far from polishing up the scruffy sound, add to the sense of alienation and unease on this quietly compelling album. (Steve)

Love 2 is Air’s first album produced entirely by the band. Having dabbled in ambient, experimental and prog in previous releases, the band moves into more uptempo territory, with familiar strains of cooing moog and synth, a new emphasis on vocals and the occasional rock guitar cameo. Tracks featuring a female vocalist take cues, perhaps, from their songwriting for Charlotte Gainsbourg’s 5:55 in 2006. A cinematic outer-space orchestra motif emerges in track 2, “Love”. In the calmer moments, “Heaven’s Light” and “Sing Sang Sung” evoke the dreamy vocals of Mazzy Star, while “Night Hunter” plays up the corner of their repertoire that overlaps with bands like Blockhead. Somber trip-pop with some surprisingly rock-esque riffs and some unguarded pretty moments sum it up. (Alex)

People are acting like this band has drastically changed from its first album, when really all that happened was improved production. Granted, the indie claque that fetishizes murk is upset and claims this is less noisy, but really it’s just as noisy and now we can hear all the amazing guitar textures better. The Jesus and Mary Chain comparisons can still be drawn, but what makes this band special is that they seemingly absorbed all of the grittier dark post-punk styles (Joy Division, early Cure, early Psychedelic Furs, etc.) that cared more about atmosphere and lyrics and guitars than beats — it’s especially welcome that they don’t make the drums overly loud — and melded them into something new and imaginative, with hooks that help give each track an identity amid the squall. This is spectacularly good. (Steve)

Last time out we were just happy they were back (while noting that the best tracks were written pre-reunion). The stakes are higher here, and the guys come through with a ferocious, far superior set of tunes. This is primarily because they’ve gotten back to their distinctive rhythmic impetus — not at first, because opener “1, 2, 3, Partyy!” is modernized and standardized to make an ironic point (and includes the great lines “Drink only when drunken to” and “Accidental genius trumps all”), but with “Possession”, Peter Prescott lays down that familiar staggering beat and all the old virtues click into place. All three main guys contribute songs, so there’s a fair amount of variety of voices and songwriting styles on what, to me, is now their real comeback album, the one where they don’t just reunite, but create anew at their old level. (Steve)

Yes, they’ve got the shoegaze guitar sound down perfectly, but what makes this band interesting is the magnitude of their ambition (this is a 22-track opus) and how much more than guitar they occasionally throw into the mix: electronic loops, ukulele, skirling keyboards, Krautrockish beats. But it’s the ethereal vocals of the twin sisters up front who give this band its greatest identity, and for sheer beauty of sound it’s hard to beat their second full-length. (Steve)