If Younger Now seems slightly scattered as it flits from song to song, it nevertheless adds up to a portrait of a pop star so confident of her swagger, she doesn't bother with such niceties as old-fashioned flow.

His mix of wistful tenderness and cerebral darkness plays out in the songs' twists and turns as he pits Bon Iver-ian robo-soul and folk gentleness against sometimes menacing basslines and frigid atmospherics. It's an approach that agrees with him on this strong sixth effort.

Far from seeming aimless, the spaciness is controlled: guitars and bass build to occasional crescendos that then fall back to earth, and the prolonged periods of murmuring electronics do not lack texture or tension. It's this almost cinematic pacing that gives IN///PARALLEL its unique appeal.

Although there are ghosts of traditional soul threaded through the record, the production is firmly modern, filled with electronic flair and allusions to hip-hop rhythms. It's a sound that suits Lovato, who has never positioned herself as a retro-soul singer but has repurposed older sounds for a fresh audience.

Distilling discomfort into something more palatable is never easy, but with a name like the World Is a Beautiful Place & I Am No Longer Afraid to Die, the band probably knew that going in.

While not his most consistent crop of songs, light brushes with Steely Dan-like jazz-rock and bolder synths add flavor to a still distinctive sound that's likely to be welcomed by fans.

This collection is full of fine music that merits attention, but as a career summary, it falls short of the mark.

Sterilize is raw, unrelenting rock music that unapologetically draws blood.

Stripped of harsh digital fuzz and angular guitars, Fatherland is an honest, satisfying window into the heart and mind of the man himself.

The only time they stumble is when they get a little heavy, like on "Half Hour," where some of the musical choices overpower Simpson's tender vocals. It's a minor quibble that's easy to overlook, and it doesn't make the album any less enjoyable overall.

The songs on French Touch are idiosyncratic and free of drama. But they are chock-full of tenderness; Bruni delivers them with keen insight into the lyric meanings these melodies convey.

As You Please can sometimes come across as overly dour, but Citizen are masters of uneasiness and wield that power like a sword.

While that might mean Colors doesn't offer the depth and intrigue of most Beck albums, it does mean it's a fun confection. It's a record that's designed to be nothing but a good time, and that indeed is all that it is.

Wide Open is a more polished affair than its predecessor, but Weaves haven't lost their gift for pairing knotty sonic architecture with gale force charisma.

Eternal Recurrence is a fine, thoughtful piece of ambient drone-folk that is as challenging as it is assuring.

Longtime fans will find plenty of grist for the mill, but for the uninitiated, Haines will likely remain a singular but elusive character, which is probably exactly the way he likes it.

Add it up and it's an impressive display of indie rock knowledge and ability, enough to make anyone thinking they should give the band a pass (despite their unfortunate moniker) some deep second thoughts.

The Selecter may still be best remembered for their part in the U.K. ska explosion of the early '80s, but Daylight shows they don't have to rest on past glories; they're creating a new body of work that's smart, energetic, and powerful.

No matter the setting, Corgan peddles heartfelt prog rock and here, when his songs are shorn of solos and kept at a human scale, his imagination feels immediate and bracing--and also a natural way for this once angry young man to ease into middle age.

More tonally diverse and thoughtfully arranged than the Bottoms' previous output, Going Grey is still wily enough to please longtime fans while adding new layers to their sound.

As a Wu-Tang album, The Saga Continues is good but not great, but it's a fine calling card for Mathematics, and makes the case that he should be given an album of his own more often.

In all, Boxing the Moonlight is a solid follow-up, offering a bit more of the variety that fans of this indie supergroup might have expected the first time around.

Rolling Blackouts Coastal Fever are still working out their game on this EP, but if you want to know if this band has promise, the answer is an insistent yes. Talk Tight has plenty of fine tunes, dry wit, and chiming guitars, and how much else do you really need?

This is a set of great songs from a master tunesmith, and Williams performs her material with greater intelligence and soul than anyone else could muster.

Though Ware co-wrote all the songs and is in full command from start to finish, the album has a stitched-together quality that starts to slowly unravel during the second half.

Cathartic and wrecked, Turn Out the Lights is the type of album that will be uncommonly relatable to some and unbearable to others. For those who are receptive, the songwriter's ferocious authenticity connects in spite of, rather than in concert with, the more dramatic accompaniment here.

Beneath its glossy surface, there's not only plenty of melody, but a perverse sense of humor that keeps the record from sounding too smooth and settled.

With engaging basslines that act as the hooks and the glue to Maus' carefully contrived sound, Screen Memories succeeds by basking in its murky splendor.

All of this is familiar, so what counts on Prince of Tears is execution, and from top to bottom, it's one of his strongest albums, benefitting from his assurance and lack of nonsense.

Martin and the Steep Canyon Rangers specialize in good cheer, and while that means they can sometimes overplay their hand here--"Strangest Christmas Yet" sticks out like a sore thumb, each punch line landing with a thud--their act is ingratiating and so is The Long-Awaited Album.

4eva Is a Mighty Long Time is a mighty long album, at 20 songs and two brief skits, but K.R.I.T. clearly has a lot to say, and he expresses it with vigor and passion on this ambitious work.

It's all somehow pulled off without coming across as aesthetically erratic.

The Endless Shimmering displays ASIWYFA's unrelenting optimism, and demonstrates their mastery of their singular brand of math-grunge.

Additional songwriters and producers, including but not limited to Timbaland, Stargate, Emile Haynie, and Malay, contribute to one or two songs each, but this album maintains a consistency and intensity that places it slightly above the debut.

Everything comes to a head on "Closure," an extended 11-minute smooth-funk jam that throws all the album's strict structure out the window. Its presence not only draws attention to how Maroon 5 can vamp, it also highlights the discipline behind the rest of Red Pill Blues.

For their part, Sharp and Keith continue to swap guitar licks and lead vocals, uniting in loose harmony and occasionally dialing up the tempo on tracks like the Keith-led rocker "Sally Rose" and the mellow yet jaunty Sharp tune "Strange Insistence." For the most part, though, Out of Range stays in first or second gear as the panoramic landscapes pass languidly by.

The robust rhythm battery of Rönkkö and bassist Rasmus Stolberg really propels 1982 forward and adds a great deal to their bigger picture. An improvement on their debut, this release solidifies Liima as a band.

The project's new direction is unexpected, and it works quite well. Woolford is still more of a master of dubplate pressure than cinematic soundscapes, but this is a promising direction for him.

While by no means a replacement for the originals, this is a fine collection highlighting several of Funkadelic's many aspects, serving as a party celebrating P-Funk and the Detroit music scene.

While likely of interest mostly to dedicated fans due to the eclectic nature of the recordings, it may also pique the curiosity of those less familiar with Olsen's growing, distinctive catalog.

Every number is given a slick electronic gloss that pushes it in the direction of adult contemporary MOR. Far from being a detriment, however, that's the strength of Unapologetically: It remains vibrant and fresh even though it sounds measured and mature.

Blitzen Trapper have always been at their best when the rubber meets the road, so to speak, and highway-ready anthems like "Rebel," "Stolen Hearts," "Dance with Me," and the soaring title cut don't disappoint, delivering a perfect blend of pathos and Pacific Northwest wanderlust, which incidentally is exactly what made Furr so compelling.

It's a solid label debut that finds its own footing apart from the Wilco connection.

It's definitely the warmest-sounding Corrs outing to date, and the austere studio setup lends itself to the band's penchant for pairing pop acumen with Irish balladry, which they do with great aplomb on heartfelt cuts like "Son of Solomon," "Dear Life," and "Live Before I Die."

Wizard Bloody Wizard doesn't break any new ground for this band, but innovation has never been what these folks are about. Instead, their albums are offerings to the gods of the blacklight poster and the bong, and on that level, Electric Wizard appear to have made their masters very happy indeed.

If Introduction to Escape-Ism lacks the punch of some of his band projects, this he is as purely himself as you could hope for, and hearing him work his songs over his own thrift store soundscapes is an engaging experience.

In a world that's turning upside down on a regular basis, the topical EP may be just the right format for Billy Bragg's socially conscious side, and Bridges Not Walls is smart, insightful music from a man who's made such things his business for nearly 35 years.

Langford's songs reflect his fascination with the culture and legacy of the American South, for better and for worse, and if his Welsh-accented voice sometimes seems to run counter to the music, Bethany Thomas and Tawny Newsome are both marvelous, putting their own spin on this music while honoring the traditions of Muscle Shoals soul.

As a debut, it has enough standout moments to pique interest in a future when Smith could stand toe to toe with his many inspirations.

The Greatest Gift works best as a companion piece to Carrie & Lowell, a variation that offers a different spin on its themes, but it's also a powerful and absorbing work in its own right, and fans of Stevens' work will appreciate it.

Not all of his juxtapositions or segues seem to make sense, and the album seems a bit overstuffed, but Jonti's ambition and creativity are undeniably admirable, and the entire album is a delightfully strange trip.

While the B-52's belatedly embraced electronics on 2008's Funplex, Change finds Wilson doing the same, but from a decidedly different vantage point, and it fits her beautifully; it's a successful musical reinvention that presents her talent in a whole new light.

Compared to the debut, this has a little more definition.

This kind of proudly theatrical arrangement would suit Amy Lee well for years, and that's why Synthesis doesn't feel like a holding pattern: It feels like the start of a new chapter.

Sure, the set meanders a bit too far into the woods here and there, but overall, Elizabethan Times is a winner from two great minds of U.K. pop.

Like Ryuichi Sakamoto's async, Finding Shore seems to find magic in everyday objects and scenes.

Overall, this is a strong debut with heart, style, and some nice hooks.

Despite its more collaborative origins, Thanks for Listening plays like a singer/songwriter album from Thile, one with moments of humor, poignancy, dread, and playfulness. Particularly "for anyone trying to hear through the din of a boorish year," it captures the Zeitgeist of the first half of 2017 with a very human touch.

Small Town is an excellent showcase for this duo; here's hoping it's only a first volley.

The addition of meandering, deeply scuffed instrumentals like "(You Can't Hide)," "Maine Vision," and "(Crowded)" come off a bit like unnecessary exercises marring the terrain. For the most part, though, Bonny Doon is a charmer, rambling contentedly down its lost highway of rickety guitar pop.

A quick blast of rock action that roars with gleeful release.

Even if Piteous Gate was more abrasive overall, Hesaitix ends up being more challenging, never giving away any easy answers and causing the listener to listen deeper.

Ultimately, while it takes on big-picture perspectives and complicated emotions, Mount Qaf is a feel-good release whose hooks and invigorating spirit may be its most powerful takeaway.

Even with thirty-plus years behind them, Corrosion of Conformity can still reach the nosebleed seats without sacrificing any integrity. It may all feel a little familiar, but it still burns going down.

On Wrong Creatures, it's refreshing to hear a band so wrought with spiritual and emotional demons find their rock & roll grace and let it rip.

Along with the aforementioned "Havana," these [Latin-inflected songs] are easily the most potent songs on the album, and showcase Cabello's effusively resonant voice and playful charisma. Admittedly, the album leans a little too heavily on ballads and midtempo acoustic guitar numbers that work against the vibrancy and momentum of the Latin tracks.

The House reinforces Porches' standing as a distinctive voice in a crowded field of wistful D.I.Y. indie electronica.

The tones, timbres, and sounds that draw listeners to this type of music are all there, but as a whole, Jaguwar struggle to establish their own voice on this debut.

All in all, Between Two Shores is an effort that will please his fans while showing he's still learning new tricks in the art of record making, and he's putting them to good use.

Even when the Johns' sentiments are morbid, I Like Fun's music seizes the joy of the moment.

The release is best summed up as stream-of-consciousness bubblegum pop, seldom committing to an idea for very long, but still maintaining a driving sense of excitement.

Exploring new directions with experimental confidence, an ever-playful BØRNS takes the necessary steps in artistic maturation on Blue Madonna, a worthy and satisfying follow-up for the mischievous Lothario.

Tracks like "Lost in Translation" and "Like a Battery" have a real old-school, balls-to-the-wall "rawk" sound which at times feels a bit simplistic, but is still a lot of fun. It sounds as if the band have outgrown the need to prove themselves with overt technicality and are happy to just enjoy rocking out.

Kacirek and Müller are credited, but it's difficult to discern their contributions to the piece. The title All Melody seems to refer to the singularity of the sounds combining together. It also suggests that while empty space is often a major element to the album, what is present is entirely melodic, and purely based in emotions.

An album typified by serene, earth-loving optimism, even when romantic heartache is in play.

While this sounds like it could be an impossibly tall order, or something that requires an encyclopedic knowledge of music just to listen to, the band achieve a remarkably, almost effortlessly cohesive sound, and it goes down much more smoothly than one might expect.

A skillful debut by musicians with notable prior credits, they've settled into something intriguing and distinct out of the gate.

The album finds them delivering music that feels fresh and inspired; this is what Turin Brakes do, and Invisible Storm shows they continue to do it quite well.

With enough highlights to form a single digestible effort, Migos could have delivered another culture-defining classic with just a little trimming. Instead, they've taken what should have been a potent, big league statement and diluted it.

Throughout, the album's stories, turns of phrase, and underdog romanticism loom even larger than its melodies, but what leaves the biggest impression is that barely restrained revelry.

Love Jail isn't magnificent by any means, but it is stronger than its predecessor. Dommengang's much improved songwriting, relentless pursuit of more spacious atmospheres, and richly textured backdrops inside the hard rock cave provide ample evidence.

Bardo Pond seem to be on an eternal, destination-free odyssey, and Vol. 8 is another strong stop on their trek.

Fallon unapologetically mines bygone eras for inspiration, but he does so with the care of an archaeologist on the biggest dig of his life.

More engaging and more thoughtful than a standard best-of, Last Night All My Dreams Came True is a rousing goodbye from one of the most acclaimed bands of their generation.

The Deathrays deliver the sonic equivalent of a fighter jet buzzing a control tower, and while they may not bring anything too new to the White Stripes/Black Keys power duo model, they've certainly proven that they belong in the same arena.

One for the Ghost shows that Astor's creative rebirth wasn't a fluke, and it's good that he's making albums on a regular basis once again.

Perhaps Carrabba still writes lyrics in broad terms, but this willingness to sculpt his sounds on the softer side indicates that he's discovered a way to sustain this allegedly adolescent music well into his adulthood.

Necessity might be the mother of invention, and their lack of training certainly gives their music a wonderfully eccentric slant, but that's just as likely due to their restless imaginations as it is circumstance.

Since this is a series of five-song EPs, Human Problems isn't paced like an LP, which is a benefit. Perhaps there are moments that drift, such as the mellow bachelor pad neo-instrumental "Everything Is Now," but they're designed that way, offering color and texture to music that already had a surplus of both.

The set comes across as remarkably crafted and measured, from its predominantly slow tempos and recurring elements to the coalescence of shrewdly applied samples and participants who also include pianist Peter Gabriel and saxophonist Kamasi Washington.

Produced by Mark Crew (Bastille, Rationale) and Catherine Marks (the Killers, Wolf Alice), the album features much of what has endeared the Liverpool trio to fans; especially vocalist/guitarist Matthew Murphy's literate, tongue-in-cheek self-awareness, which remains firmly intact.

Sometimes, Luke LaLonde's yawp pierces through this stylish murk, as if he's impatient with these mannered arrangements, but this tension also provides a perhaps necessary counterpoint to Born Ruffians' newfound earnestness; it adds color and dimension, keeping the songs from seeming po-faced and giving Uncle, Duke & the Chief just enough jolt to be unpredictable.

Onion is mature and contemplative compared to Shannon & the Clams' earlier efforts, but it's music that comes from a place of celebration and love, and these songs will make you dance and sing along--and that's what this band has always done best.

Even if it's not always as coherent as Poliça and s t a r g a z e's own albums, Music for the Long Emergency's experiments balance ambition and emotion in admirable ways.

Tracks like the glammy "Mekong Glitter" and the instrumental "Heathrow" both hanging on long enough to outstay their welcome. Overall, though, Insecure Men's melting pot of pop is straight-up fun with some deceivingly clever craft to it.

Buffalo Tom are still firmly in control of what was best and most important in their music, and Quiet and Peace is a fine reminder of why they mattered then, and why they matter now.

As a whole, Hundred Acres is a pleasing listen with a warm-hearted, pastoral feel, even if its nuances sometimes get lost in the cracks.

The Low Anthem have explored this minimalist, moving stylistic space before, but never so relentlessly and affectingly. Almost completely stripped of virtuosity, The Salt Doll may alienate certain traditional roots fans but has the potential to bewitch musers and wanderers.