On Can't Touch Us Now, the smarts and the songwriting are closer to the forefront, and it's a fine showcase of what they still do well.

Honeymoon on Mars isn't up to the level of the Pop Group's finest recordings, but it's still punk/funk agit-prop that's fearless and unafraid to strike, and if anything, their brand of troublemaking is more deeply needed now than ever before.

Leaps beyond predecessor Stomachaches, Parachutes benefits from its creator's inner turmoil, providing as much emotional support to Iero as it does to listeners with similar struggles.

The moody astral tones of opener "Good Mourning" get the album off to a slow start, but in general there are plenty of standouts scattered throughout Third World Pyramid that could stand up to BJM's best work.

Bon Jovi and Shanks may not have done much to freshen up the band's sound--they don't take any mid-2010s musical trends into consideration--but that simmering defiance does mean this is the band's liveliest album in years.

On the ambient side, tracks often play into one another with quiet transitions, making single-track play potentially abrupt.

Redemption & Ruin is a fine covers album: it not only illuminates and adds new dimensions to these songs, but it unmistakably reflects the Devil Makes Three's musical persona, making it a welcome addition to their catalog.

It's a bit of a mess at times, but there's no denying that Crying's sense of fun is a major part of their appeal.

For all its emphasis on the past, Stripped sounds like a step forward.

That one track ["Canna-Business"] aside, Brotherhood of the Snake is not only on par with Testament's best records during the millennium thus far, but ever.

From front to back, the quality is so balanced that there are no obvious peaks or lulls, though the tracks that incorporate harp and harpsichord stick out a little more for their uniqueness relative to standard soul-funk revivalism.

Even if Slugger might appeal more to Speedy Ortiz fans than Top 40 diehards, hearing Dupuis seek intimacy and independence is never less than pithy, fun, and thought-provoking.

Pavo Pavo have achieved a collection that eschews the obvious, being undoubtedly hip yet simultaneous geeky in its references, and the resulting work is a real gem.

XAM Duo is a synth lover's dream, a calming balm to the hectic hustle of modern life, and a trippy excursion into the futuristic past.

Highway Songs encapsulates Pajo's life experiences into a poignant travelog, and considering all that he's been through, it's a life-affirming work.

It's easy to stand on the sidelines and say that a more streamlined, ten- to 12-track version of the album would suffice, but one of the many things that's helped to make Hersh such a singular talent over the years is her unwillingness to compromise, and on that front, the punishing and beautiful Wyatt at the Coyote Palace doesn't disappoint.

Romare's disjointed sound takes some getting used to, but it's often bewitching, and Love Songs, Pt. 2 is his best effort yet.

It's an exhilarating rush, and even for a band that had never made the same record twice, it comes as a bit of a shock after the Men had been inching toward sounding like Bruce Springsteen or Tom Petty.

With their debut album, E create urgent music for chaotic, uncertain times.

Even if Woman sometimes sounds more like two EPs than a cohesive set of songs, it's still an enjoyable album--especially when Justice use their flair for looking back creatively.

Lady, Give Me Your Key contains expository notes by Thomas as well his in-depth interviews with Beckett and Yester. The sound is far better than acceptable considering the original sources, and the material is a true boon for Buckley's most devoted followers.

With Familiar Touch, DIANA continue to excel at writing songs that are soothing yet scarring.

With On Dark Silent Off, Radian sharpen their difficult sound into something more urgent and alarming than it ever was before.

Stage is more Operation: Mindcrime-era Queensrÿche than it is Muse, and for all its opining on nanotechnology and interstellar travel, it still feels rooted in heavy metal tradition.

Doherty's solo career has resulted in some of his most rewarding music even if it's not the most attention-getting, and fans who have stuck with him this long will find a lot to enjoy on Hamburg Demonstrations.

Classical Indian music is thoroughly interwoven with '60s psychedelia and pop--and the two are different, with the first emphasizing texture and the second structure--giving Elephant Stone a shimmering, off-kilter quality that's alluring.

They prove to be naturals at soundtracks, creating something here that works like they said it would. While no doubt the score would work in perfect tandem with the film, it stands alone as a sterling example of the band's mastery of psychedelic music.

No Exit is immediate; even raw in places. It's committed to the truths inside the songs, not an iconic performance (as 1990's Blazing Away was). For that reason, it belongs on every Faithfull fan's shelf.

As with other Mayer studio full-lengths (including the SuperMayer release), & has an anything-goes spirit, jumping from style to style and resisting expectations. It flows well as an album, though, starting out celebratory before getting darker and more sinister and finally ending up sublime and relaxed.

Throughout it all, Dr. John remains at the center, occupying attention even when he's offstage because it's clear that this blend of jazz, soul, R&B, rock, and pop is distinctly his.

For a string band album titled Autumn, they deliver exactly what you'd want: a nuanced selection of warm, earthy music replete with gentle guitar picking, woody mandolin, muted banjo, occasional piano, and a robust vocal blend to evoke the wistful changing of the season.

Nothing here has the upbeat pop appeal of "2 On" or any of the unincluded post-Aquarius singles, but this is clearly designed for a different purpose.

Daniel still sounds like he's developing his sound with this album, but it's a noble effort, and certainly recommended for fans of Detroit dance music or the rougher, more off-beat side of house.

Fans will appreciate the new directions and there's enough on W:/2016ALBUM/ to introduce curious new listeners to the mutable world of the mau5.

Harlequin is the type of album that may not please those who hear the saucy single and come for more of the same, but it may thrill certain headphoned listeners who appreciate both classic songwriting and an audacious approach.

It may not be as riveting or intense, but it still has the unmistakable Burial sound and it's still unpredictable, so it's still well worth the listener's time.

Their self-described "acoustic-live remix" can be a little tentative at times. Nevertheless, it's a worthy showcase for Torrini's excellent body of work and achieves a level of quality that many live recordings fail to reach.

Despite self-imposed strategic boundaries, The Rest Is Scenery is a remarkably free and unfettered album. Most artists couldn't conceive of such a thing, let alone pull it off; Youngs does it in spades.

At times wistful and contemplative, frequently explosive, and pleasantly damaged, Worry. holds true to its creator's D.I.Y. aesthetic and pop-punk/ska roots while continuing to emphasize his new power pop direction.

It's this lack of an overall aesthetic that makes Last Night on the Planet feel more like a compilation of singles than a full-fledged album; while the duo's skills are still evident, unfortunately the results aren't as rewarding as before.

As a whole, Tolchin's rootsy acoustic mix works for him, though he shines brightest on the folkier, more heartfelt tracks.

The band's return to basics here is effective with Calder at the helm, and results in an affecting record with consistent intensity and enough hooks to promote both catharsis and return visits.

Like many a Christmas collection, the record becomes less elegant on sillier tunes like "Must Be Santa" (derived from a German drinking song) and a strangely plaintive version of the Chipmunks' "Christmas Don't Be Late." These diversions are limited, though, and, remarkably, don't include a rather beautiful rendition of "Mele Kalikimaka." Taken together, Christmas Party is a charmer.

Not every track works and it's unlikely to replace Vince Guaraldi's A Charlie Brown Christmas in terms of sheer comfort, but it's certainly honest and offers an alternative to the parade of musical schmaltz that arrives like clockwork each season.

The album's deliberately murky tone (courtesy of Taylor Goldsmith and Jim James) doesn't always help, but in spite of its sometimes gimmicky tone, Sweet Creep is evidence that Jonny Fritz is a genuine talent and a first-rate songwriter, and with luck, he'll let his guard down some time and let us hear him without his persona getting in the way.

It’s as consistent and bombastic as anything in their catalog--making it a good place to start for newcomers, too.

As with all of his ambient works, it's minimal and non-distracting, but there are subtle alterations and changes, and it does reward any amount of attention paid to it.

While the album makes more of an impression as a whole than do individual songs, it makes a lasting one.

Wayne Coyne, Steven Drozd and company soften some of The Terror's rough edges in favor of a more eclectic, melodic sound that spans hip-hop, prog, and orchestral elements, sometimes in the course of a single song.

Perhaps the biggest surprise of all, though, is that Sohn hasn't pushed his musical boundaries further; perhaps next time he will completely run wild.

Silver Tears is steeped in musical knowledge but delivered with a lighthearted touch and plenty of personality.

By letting go of a little of their rage, Cloud Nothings let more light and shadow into Life Without Sound with promising results.

Overall a tweaked follow-up that's likely to bring along existing fans, Trials & Truths is like a puffy chair with a window view; it doesn't demand attention but offers thoughtful escape.

With Migration, Green blends the unexpected with the familiar and emerges with some of his most affecting work yet.

Machine Messiah is an ambitious, angry, hungry outing. Sepultura remain vital in their creativity; they expand their palette dramatically while fully integrating the sounds that brought them here.

The duo’s effective use of reverbs and filters works wonders here, transporting the listener through an array of the same kinds of sounds, but they're treated whole-heartedly and differently with each moment.

This record works as an apt elegy to the band, and despite never again managing to reach the high-water mark Piano Magic achieved with Low Birth Weight, Closure remains a fine final flourish.

On Hear the Lions Roar, Half Japanese demonstrate that after nearly 40 years of music-making, they're still creating some of the most engaging recordings of their lives, and that's truly something to believe in.

Chapman is an artist who has never had a problem with upending creative expectations, and if 50 isn't the sort of music many of his longtime fans would expect from him, it's also passionate, literate, and the work of an artist who wants to make the most of his late-era career. Not many artists sound this determined and engaged, especially at the age of 75.

As ever, Basinski is a master at suspending time, and the album seems to flow by faster than the clock indicates. When it does end, you wonder if you've been taken somewhere, or if you've been changed in some way. The only key to answering these questions is to dive back in.

Despite its varying sonic proclivities, Modern Ruin is a punk album at heart, but that Carter ends this latest salvo with hope for a better, more empathy-driven future for his child shows that he's capable of more than just mosh pit-inducing invective.

If they remain a little constrained by their formalism--they're so determined to be part of a tradition they can often be swallowed by it--it's nevertheless hard not to admire their ambition.

All of it adds up to an album that feels quietly hopeful, making it a tonic for troubled times.

This is a celebration, both of the group's past and its inspired present, and that is more than enough to make this a worthwhile live album.

Terrifying and violent, Wake in Fright is a perfectly logical response to the state of the world.

Slightly disjointed and lopsided, Myths 002 is nevertheless a fun, worthwhile venture.

The 2017 installment of Kompakt's ever-reliable Pop Ambient series serves up a typical assortment of wintry, occasionally somber, always reflective ambient pieces.

Undoubtedly, these re-workings are a deliberate gesture to signal the 20-year gap that now finds our heroes in middle-age. ... Being the filmmaker that he is, Danny Boyle was never going to allow the music to be entirely nostalgic, and one of his most inspired contemporary picks is Fat White Family.

A lot of the album feels inspired by the Ghostwriting project, and while he's definitely injected himself into the songs, it feels oddly detached and writerly, as if he's taking pains to create a buffer zone of distance between his real feelings and the listener.

It's easily the meatiest the band has sounded to date, but it doesn't deviate from the punishing, aural miasma that Pissed Jeans have been stewing in since their 2006 debut.

New Spirit's shifts from experimental to pop and back again aren't always smooth, but they prove once again that PVT's unpredictability is reliably fascinating.

Iron Reagan may be kidding some of the time, but when it comes to the music, they're not joking even a tiny bit, and Crossover Ministry will give your ears the swift kick they've been dreaming of.

Following the stripped-down, melancholy electro-R&B of his 2015 album Midnight Snack, Homeshake's Peter Sagar expands on this sound with the less weird, more refined Fresh Air.

With its environmental sound and complementary lyrics, Mowing seems to encourage daydreaming, even verbally acknowledging a return to reality when airport noise invades the closing track. Regrettably, hammock not included.

While I Decided. may not light up the club like his past efforts, it shines a different, more nurturing light onto deeper parts of his soul.

The stylistic switch-ups are clever and effective without coming across as forcefully out of character.

The slowly paced synth waves and soft bass pulsations of "Breath" close out this enjoyable album.

This is as enjoyable as the duo's debut, another set that rewards deep listening for those with an affinity for Eno/Moebius/Roedelius, Global Communication, the Detroit Escalator Co., and the tranquil aspects of Kompakt's Pop Ambient series.

Fans who have been following Black Joe Lewis' career since his 2007 debut album will find a lot of what they like on Backlash. But there's also enough that's fresh, tough, and challenging to remind listeners that Lewis is still moving forward, putting a modern-day perspective on the tropes of classic soul and R&B.

Showalter and producer Nicolas Vernhes find a nice balance between the rawness of the production and the meatiness of its execution, and allow the classic rock underpinnings that were so prevalent on Heal to continue to rise to the forefront.

She's created a cool, sensual sound for Close Your Eyes, spinning off of her signature subdued adult alternative pop but adding in significant elements of electronica, particularly an echo of trip-hop past.

The mild growth and light sophistication they show in spots doesn't make the record any less of a rollicking good time. Just like they have since their early days, the Orwells bring the songs, the suds, and the knuckleheaded energy to the party.

In Between is usually quiet, but it's never cautious; this is very much the work of one of America's best and most venerable independent bands, and it confirms the Feelies are still a genuine creative force as they approach their 40th anniversary.

On the whole a solid set of songs, the album's influences play out consistently across a wistfully romantic atmosphere that should appeal to both lovers and the lonelyhearted.

It's not Crass, the Clash, or the Pistols, but it's certainly of its generation.

Produced by Manfred Eicher, Elegy fits ECM's aesthetic to a T. More than that, however, it reveals Bleckmann's creative authority as he searches the limits of both sound and silence for an expression that utters its own name. The album is a gentle wonder; it bodes well for an enduring relationship between artist and label.

Here, production is the star, adding excitement and variety to Future's reliable, trap-star flow. 808 Mafia's Southside is at the top of the pack, with a hand in at least half of the album's tracks.

The grim truths and fantastical tales are almost equally vivid.

Ornate but polished throughout, Field of Love ultimately delivers pop music for those who are bored with pop music.

She pleads, yelps, and croons, alternating between agitation and desperation, and that raw emotion is the true hook on Soul Sick.

From the serene liquidity of "Karuna" to the spatial experimentations of the instrumental title track, Silberman's personal transformations are revealed on this thoughtful and understated debut.

When the tracks are beatless, they sound like the musical equivalent of distant waves rushing deep in the night. What Long does isn't exactly complicated, at least on the surface, but it's still highly immersive and quite gorgeous.

Additional guests Kendrick, Pharrell, and Wiz Khalifa add to the star power, but the main attraction is Bruner's singular combination of tremulous yet fluid bass and aching falsetto.

At over two hours long, it's easily one of Mark Kozelek's most ambitious undertakings yet--or one of the most self-indulgent, depending on the listener's perspective.

Fans of either rapper will enjoy hearing them together for an entire album. The effect doesn't wear out and Plata o Plomo ends up being a worthwhile addition to both discographies.

The album's tempo could have been more varied, but that's a small complaint; there's plenty to enjoy here.

Scott H. Biram remains one of the rawest and realest honky tonk men wandering our lost highways in the 21st century, and The Bad Testament finds him howling just like the hellhound on his trail.

Though it takes a few listens to get to the heart of Heartworms, fans who have stuck with Mercer for this long will find it time well spent.