Grass, Branch & Bone is a low-key triumph from an artist who had made a career out of demonstrating that in music, simplicity is often the approach that tells us the most.

Everything flows naturally, and that ease is so alluring upon the first spin of Traveller that it's not until repeated visits that the depth of the album becomes apparent.

Alice Bag isn't a belated victory lap from a veteran of the punk rock wars, it's a diverse and deeply satisfying album from an artist who is finally getting a chance to live up to her great potential, and here she isn't missing a trick.

It's hard to say if it's enough to warrant a purchase of this hefty box, but in either its CD or LP incarnation, A New Career in a New Town is a handsome, alluring, and exceptional-sounding reissue that earns its price tag.

Though this isn't the cleanest and tidiest album of his career, the emotional honesty of this material is striking, and this is some of the boldest and most inspiring work of Joe Henry's career.

A potent 11-song set that injects the genre's key trope of overcoming adversity with some considerable gravitas.

Descension is a collaboration for the ages: It is ecstatic, improvised jazz that reverberates inside the human body like a heartbeat.

A beautifully nuanced work, Clara is both revealing and mysterious -- and Loscil fans wouldn't expect anything less.

Gay more than succeeds in weaving all of these seemingly disparate sounds together, and Open Arms to Open Us has the engaging feeling of walking through a kaleidoscopic multimedia art installation.

This Is Brian Jackson's music is timeless, a musical montage reflecting his multi-disciplinary immersion in jazz, funk, soul, and hip-hop, without sacrificing the focus, generosity, inspiration, and openness that have been at the very heart of his music all along.

Weller sounds looser and lighter on 66 than he did in the recent past, a shift that adds warmth and playfulness to his wisdom.

Make no mistake: That's Showbiz Baby! is a must hear for any fan of euphoric, maximalist dance pop.

The Chemistry of Common Life, is a lush, expansive masterpiece that dismisses the theory that punkers have to follow a concrete formula of short and fast songs with raw-edged production.

Hearing Dry Cleaning's words and music travel in different ways to the same destination remains fascinating, and the ways they open up their music on Stumpwork with warmth, sensuality, and humor reveal their originality even more fully.

Older, wiser, and more ambitious than on her collegiate debut, Tomberlin finds a musical artistry on i don't know who needs to hear this… that rises to the level of her lyrical perceptiveness.

An album that's not just one of Yearwood's most entertaining albums, but one of her richest records, in both musical and emotional terms as well.

A revelatory experience that's somehow been hidden within her all these years, Girl with No Face is a bold reclamation of artistic self from a thrilling pop auteur.

Crimes keeps a tight lid on the nervous energy that's always defined the group, channeling it into aggressive songs that often suggest the damaged, exciting grooves of vintage Brainiac.

Aptly named, Patience is the sound of a band who have spent a few years growing into themselves and it honors Mannequin Pussy's raw punk past while opening doors to new creative possibilities.

Blinking Lights and Other Revelations is blessed because of -- not in spite of -- its excesses.

The astute and eclectic programming makes for a better listen than other attempts that have been made to compile '80s alternative rock.

Whatever spaces the arrangements leave enable the imagination to play as much of a role as the instrumentation.

A remarkably spare and focused collection?

Old Ideas is a very good Cohen album; it may be great, but only time reveals that when it comes to his work.

It's possible that The Meadowlands might be a "better" album if it were more focused and logical, but there's something to be said for its immersive, stream-of-consciousness approach.

This is so good that this is how you want to remember them: older, perhaps wiser, and still majestic.

Only Ron and Russell Mael could have made this album, and while they've always done what they needed and wanted to do as artists, it's extra satisfying that this peak in their popularity coincides with music this vibrantly engaging.

This is a smoking little record. Its focus is small, its reach is large; it's a winner.

Elaenia is fated to become one of those albums that inspires ritualistic listening parties held by small groups of audiophiles. That shouldn't be held against it.

The words offer a lot of food for thought, but the music and arrangements are every bit as remarkable.

It's another quiet gem from an artist in the full bloom of his talents.

For all of its epic grandiosity, May Our Chambers Be Full only clocks in at a mere 37 minutes, but in doing so leaves a more indelible impression.

Second album Glitch Princess is more futuristic than yeule's past work and perhaps more dystopian as well.

The deep involvement of McClenney, assistance from additional producers such as Wynne Bennett and Alissia Benveniste, and the familiar presence of Peter CottonTale all nudge and stretch Woods' sound into new realms of left-field pop, folk, and funk without squeezing out a drop of soul.

With Hell-On, Case has once again given herself an ideal showcase for her talents as a vocalist, songwriter, and producer; it's lush but intimate, and one of the strongest and most satisfying records she's delivered to date. Which, given her catalog, says a great deal.

There are two expertly executed albums here, each highlighting just how this group has grown from being rascally jokesters to hardened, concerned members of society. As far as swan songs go, Heaven :x: Hell is a heartfelt goodbye to fans, an overly generous gift that aims to please the full spectrum of diehards and thank them for all their years of dedication.

Pure Comedy is indeed a very grand record, an old-fashioned major statement designed to evoke memories of classic long-players from the '70s. Often, its stately march and decorated pianos call to mind early Elton John, suggesting the hazy vistas of Madman Across the Water.

When Art Department stick with their signature sound, even though it might not be exactly unique--it's easy enough to trace a lineage through seminal Chicago jack tracks, early-'90s disco house and the sleeker end of electro-clash to contemporary peers like Soul Clap and Benoit & Sergio--the results are nothing short of mesmerizing.

While it's hard to talk about Two Hands in 2019 without the context of the stunning U.F.O.F., the album's quality stands on its own, offering its own grade of intimacy, sound, and feel for alternate moods.

Uneasy offers a portrait of an emergent trio discovering a multivalently complex language while simultaneously articulating its myriad possibilities. The end result is centered, action-oriented music that is at once gloriously colorful and brilliantly articulated.

Yes, Ys is a demanding listen, but it's also a rewarding and inspiring one.

Matthew E. White's Hometapes' debut, Big Inner, is as frustrating as it is cosmically transcendent.

They're in an increasingly crowded field but hover well above all of their contemporaries.

While the title may reflect a a certain ponderousness, these 11 tunes are anything but.

Big and bold the whole way through and with nary a stumble, Something Else is another triumph from Tech.

Broken Lines' only downfall is that it isn't as cohesively arresting as its individual highlights. Having said that, those highlights pretty much eclipse this.

side from the cultural relevance of his lyrics, Choi's songwriting is catchy, vibrant, and brimming with melody and moxie on this excellent follow-up.

Coral Island is the band at their best, effortlessly conjuring up the glorious ghosts of rock & roll's past and turning those sounds into something timeless and instantly rewarding at once.

As good as OFF!'s previous releases were, they (in classic hardcore style) sounded like they were produced in hit-and-run style, with the band cutting them live with minimal overdubs. Free LSD, on the other hand, aims to be something more; in its intensity and vision, it succeeds, and it's a gloriously weird triumph.

With Say I Won't, Bass Drum of Death evoke the sweaty album rock of the '70s, infusing it with an undeniably raw and sultry immediacy all their own.

Like all Tinariwen releases, Amatssou is compelling and strange. They are a musical entity like no other, translating the essence of their culture through creative exploration and complementary collaborations, yet always attuned to their inner compass.

It's fitting that such a thoughtful work reveals more shades with each listen, and while grasping all facets of reality may not be achievable, Le jour et la nuit du réel expresses Colleen's truth brilliantly.

It's that sound of love, the fantasy vs. the reality of a relationship, that fascinates McAlpine and makes Older such a lovely and bittersweet experience.

Memento Mori: Mexico City is one of the stronger live sets in their discography since Devotional, buffered by the strength of the songs on the tour's parent album and the choice to include so many beloved crowd pleasers.

With Dacus' warm vocals and melodies leading the way throughout, Home Video is an engrossing set steeped in life lessons and nostalgia.

On this soul-nourishing tour de force, her one-of-a-kind mix of innovation and emotion is as inspiring as it's ever been over her decades-long career.

There's a marked feeling of newfound ease that flows through The Comeback Kid. The always unstable elements that make up Stern's sound are still potent and volatile, but gone is any dread or confusion that may have pushed her music forward in the past, replaced by a sense of triumph and euphoric self-acceptance.

Kish Kash may be the best dance record of 2003, but it's the least imaginative LP the duo have ever released.

A dense, plunderphonic kaleidoscope of an album with giant, noisy jazz breaks and groovy electronic synthwork.

A standout among her already impressive catalog, The Moon and Stars is utterly beguiling with a luster that only deepens with repeated spins.

Revolution offers a strong, cohesive take on what has quickly become the “Lambert sound:” a blend of lilting ballads and loud, fire-breathing anthems, many of which owe as much to rock & roll as country.

What makes Interstate Gospel so invigorating is hearing how Lambert, Monroe, and Presley mesh as both songwriters and singers. Their time apart has only strengthened their bond, resulting in a fully realized and resonant record that is their best to date.

So if the first disc of Enter the Vaselines is absolutely essential, the bonus disc is for fanatics only.

The 19 tracks here are all over the place, true to form for Russell and his ever-expanding inspirations. ... For all the fans who discovered Russell after his passing, collections like Iowa Dream are bittersweet time capsules, holding new evidence of his one-of-a-kind talents that still occupy a space all their own, even when unearthed decades later.

It's still Duster to the core -- as sad, exhilarating, and powerful as ever -- but it's colored by 20 years of life experience and dipped even more deeply in melancholy. At a time when almost every band ever has reunited to make disappointing, derivative music, Duster have come back to make their most sonically challenging and emotionally invested record yet.

Perhaps the most impressive thing about Multitudes is that virtually any of its 12 songs would be showstoppers in less consummate company.

Lyrical prowess is never in doubt, and neither is the idea that the MC is an acquired taste, but this wordy, extroverted, and capricious effort is an alive whirlwind with more pride than usual. That last bit makes it one of the most persuasive Aesop efforts to date.

While it may be inspired by Sandy's fallout, Landfall's reach runs to a sea of loss, chaos, and confusion. It's an elemental mystery of quietly epic proportions made exceptional through clarity of thought and feeling.

Nothing here is particularly outside the wheelhouse of Old Crow Medicine Show, but the songs are finely etched and the performances vivid, elements that separate Volunteer from its predecessors. Here, Old Crow Medicine Show feel focused and fully realized, as if they're just hitting their stride after two decades in the business.

With Imaginal Disk, Magdalena Bay straddle pop worlds, bringing together a maximalist dance club atmosphere and ecstasy-laced, burning Wicker Man euphoria, all filtered through a dial-up computer dream of the pop future.

Lonely People with Power finds Deafheaven incorporating the most successful parts of that album into their usual sound, resulting in one of their strongest works.

Yo La Tengo have been doing what they do long enough that they know and trust their process, and This Stupid World doesn't seem radically different from their work of the last 10 or 15 years. That said, this music feels warmer and more emotionally satisfying than anything YLT have given us since 2009's Popular Songs.

The consistent excellence of Tomorrow's Harvest is as comforting as a collection of quietly menacing android fever dreams like these could possibly be.

Just when you think they've hit an artistic plateau, they take another creative leap into the unknown, only to return with what feels like a deeper, more heartfelt statement of who they are. With This Is Why, Paramore underline that notion, pulling the artistic and emotional threads of their career into a cohesive, ardent whole.

The LP is another work of sophisticated simplicity with deliberation seemingly eschewed in favor of spontaneity. Due in significant part to Leach's active hands and the frequent presence of Hone's woodwinds, the material evokes gentle spiritual and Brazilian jazz almost as much as it does smooth private-press soul.

Full of great lyrics and great playing, Strange Mercy is St. Vincent's most reflective and most audacious album to date, and Clark remains as delicately uncompromising an artist as ever.

It's his friendliness that makes his musings on the human condition work, and with Winter Wheat, he's once again crafted another thoughtful and meaningful set.

A stunning achievement, with Loom Gately beautifully honors her mother as well as her commitment to uncompromising music.

Equally soothing and exciting, heartfelt and innovative, Ecstatic Arrow is Virginia Wing's finest work yet.

It may not be especially optimistic, but it's certainly powerful and inspiring, and we probably need that more from Cale than forced cheeriness, a skill he need not acquire this far into his career.

Crazy Ex-Girlfriend would have been impressive if it was just a showcase of her strengths as a singer or as a songwriter, but since it is both, it's simply stunning, a breakthrough for Lambert and one of the best albums of 2007, regardless of genre.

The modulation and echo treatments on the vocals, combined with the frequently torpid tempos, nonetheless make Astroworld ideal for being pumped through an (18 and over) amusement park's sound system near closing time, when the challenge of hitting all the rides has started to turn into an overindulgent, overheated chore.

Montero delivers in droves, a powerful realization of self that boldly places sexuality, honesty, and vulnerability at the fore.

New Bermuda finds Deafheaven continuing to effortlessly traverse genre borders and create transcendent music.

The group sometimes sacrifices immediacy for angular melodies and riffs that don’t catch hold. On balance, though, One Beat’s musical progression is still extremely impressive.

The Harrow & the Harvest is stunning for its intimacy, its lack of studio artifice, its warmth and its timeless, if hard won, songcraft.

All Our Reasons is wonderfully executed, and full of excellent tunes, nice improvisational turns, numerous surprises (many of them subtle), and a warm, lively sense of engagement throughout.

If you haven't seen Isbell and the 400 Unit on-stage, Live from Alabama will likely convince you to show up the next time they play in your area, and if you already have, this will remind you why you walked home impressed.

After an impressive debut, Tesseract return with Altered State, a sophomore effort that finds the band expanding its progressive metal sound in a bigger, more ambitious direction.

As a band, the Vigil is exciting as much for its potential as for the multifaceted talent the group members put on display here.

More accessible yet no less honest than their first two records, Bonxie is an expansion of Stornoway's best attributes.

Each of the five discs leads with a full-length in its entirety and is filled to capacity with an assortment of extras. What's missing is negligible, mostly forgotten remixes and redundant 7" edits.

Async is certainly not one of Sakamoto's most accessible albums, but if the listener is willing to devote several listens until it all makes sense, it ends up being quite powerful.

Epithymía is uneasy and sometimes painful, but it beautifully conveys dark, heavy emotions and is well worth the time.

As displayed on Nightbringers, there's plenty of room left to explore and experiment inside their sound, while expanding its parameters. They've done both to excellent effect here.

Audio, video, or both, this is a fantastic version of a bona fide classic.

This may be familiar to the dedicated whose allegiance never wavered, but for those who believed R.E.M. faltered after Berry's departure, R.E.M. at the BBC is a gateway into the band's last act.

Everything clicks into place right from the start and the emotion, the songcraft, and the power hooks never let up. Comet Gain may have been around a long, long time, but they have never felt as alive or as vital as they do on this amazing and important album.