Not one of their releases is the same as another, and with Year of the Snitch, they continue to break boundaries and expectations. The record is another example of true experimentation with their sound along with an uncompromising work ethic and a thirst for originality.

Rather than chasing trends or aiming for reinvention, the Innocence Mission seem content at this point in their career to carry on doing what they do best and expand on their trademark sound with another fine release.

Across the album's 12 yearning songs, the performances not only breathe but seem to sigh in concert with the main duo, arriving at what is much more an expansion of their trademark sound than a renouncement of it.

Once again, Self Defense Family have created a work that reveals itself entirely on its own terms, and though Have You Considered Punk Music is often evasive, it still manages to draw in the listener, and it's an experience that's well worth your time.

All That Reckoning is a smart, compelling set of songs from a group that hasn't run out of things to say or the ability to say them with eloquence.

Adam Landry, who produced and engineered the project as well as playing guitar, bass, keyboards, and drums, has done a splendid job helping Morris realize this cycle of songs, and while one might hope Morris feels better the next time he decides to make a record, Dude, the Obscure shows that he gained something worthwhile during his journey through difficult times.

While not as spontaneous or weird as some of Torske's other efforts, Byen is unmistakably well-crafted, and works on the dancefloor as well as a soundtrack for zoning out.

One of the best aspects of The Return is how balanced the songs feel, weaving in bits of modern electronic dance and hip-hop flourishes as on the stuttering, breakbeat-infused "Catch the Loop," and the equally kinetic "Broken Theme." While The Return implies, and often delivers on, Williams' clear desire to recapture the plasmic spirit of vintage '70s jazz-funk, the album is less of a return to past traditions and more of a rebirth.

Their Prime is an impressive debut from a group that has already gone a long way toward moving past their influences, and Jo Passed is clearly a band to watch.

Scaling back from the expansive horizons of 2015's T-Bone Burnett-produced The Phosphorescent Blues, Punch Brothers may sound intimate on 2018's All Ashore, but they haven't lost their ambition.

A few judicious cuts here and there and it would have been a very strong extended play instead of an uneven album that doesn't quite reach the level the duo attained on Hair. It's still worth checking out for fans either artist though, especially if their eccentric natures are their main attraction.

Evidently remaining under no pressure to assimilate with commercial R&B or even commit to traditional song structures, the musicians whip up another mixture of loose dance grooves and languid ballads. The effect is only a shade less stimulating than that of their previous LP.

While a bit mercurial in nature, by its overall impression, How Many Times Have You Driven By is a grooving, otherworldly standout that establishes Vu as one to watch.

Semblance isn't Forma's most consistent album, but their approach to rhythm is more innovative here than it was on their past releases, and their continued progression remains exciting to witness.

In hindsight, it's possible to hear some of the profound loneliness of Liars' next album TFCF and the disorienting washes of Hemphill's subsequent work as Nonpareils in this score, and for that reason alone, 1/1 is more than just a commissioned work--as much as any one release from this band could, it sums up their approach and points the way forward.

The best songs on Back Roads and Abandoned Motels are a lovely reminder of what the Jayhawks have been doing so well for over 30 years, and if this album might make one wonder if Gary Louris is running low on songwriting ideas, he still leads a band to be reckoned with.

Powell tends to overwhelm on the suite of Ziggy Stardust numbers, painting everything with swathes of synths--but the performance is invigorating even with its flaws.

While DJ-Kicks doesn't quite have as much personality as those prior releases, particularly Time Spent Away from U, the mix proves that Seinfeld isn't interested in being pegged as a one-trick pony, and that his scope is rapidly expanding.

Four albums in and Halestorm appear to have officially hit their stride.

More a gentle expansion than a reformulation, The Mighty Thread should appeal to established fans and other daydreamers.

it's a record that reflects how James always swing for the fences. As such, the album can be a little exhausting for those who aren't true believers--there is plenty going on in the songs and productions but no direct way inside--but can prove to be fascinating for the dedicated sort who choose immersion over skimming.

Swimming is ample evidence that Miller can pick up the pieces and continue evolving, his grasp on thoughtful, introspective hip-hop getting stronger by the album.

For fans of this particular era, ShadowParty's debut offers welcome satisfaction, breathing new life into the familiar with fresh ideas and a freedom unhindered by the burden of the beloved acts from which they originated.

Even the hazier songs have a melodic and harmonic allure, though, a trait that bodes well for any band. With ten tracks coming in at under 25 minutes, Bell House almost goes by too fast for its richness, like sample-sized bakery treats that deserve a full course.

High Water I will satisfy those fans who have been missing music that sounds like the Crowes--it's much bolder and simpler than Rich Robinson's appealingly rambling Flux, for instance--but it's also true that the Magpie Salute doesn't attempt to do much here but hit their mark with precision.

Baby Grand is as ambitious as we've come to expect from the Love Language, and as successful in its grasp of thoughtful, artfully crafted pop music.

As befits a self-titled album, all the moves Shears makes--both familiar and new--feel true to him. Funny, flashy, and not so secretly recovering from heartbreak, Jake Shears is one of the tightest sets of music he's made.

This results in an album where the melancholy is bittersweet, not all consuming, which means Thank You For Today is softly reassuring even when its intent is lightly barbed.

Some of Still Corners' most intimate-sounding music, Slow Air's finest moments feel less like they're adopting the customs of a new land and more like they're adapting them to what they do best--capturing moods beautifully.

It's not a showy record and it's not going to bowl anyone over, but it is sneaky good and shows that Primo are definitely on the path to doing something really special.

To some ears, this album might sound like demos or unfinished sketches, but its simplicity seems to be Pajo's way of saying that sometimes it's best to appreciate things for what they are, and just be happy you're alive. He seems to be at peace, and that carries a great amount of significance.

Like any visual album, the floating sounds here are probably best experienced in conjunction with the visuals they were created for, but even on their own, there's a calm power that grows as the various passages of Tangerine Reef fade in and out of one another.

The Diet isn't a quantum leap over New Misery, but it certainly represents a step forward for Cullen Omori, both as a songwriter and a performer, and as long as his love life remains problematic, he should have a great future ahead of him.

Balancing restraint with a keen ear for pop-friendly hooks inspired by Jack Antonoff, Dizzy manage to make quite the opening statement with Baby Teeth.

His voice shrouded in distortion, sometimes to the song's detriment, Powers' ability to go from vulnerable to feral in the blink of an eye keeps the listener on the edge of their seat, as does the occasional jarring shift from ambient vista to chemical grade electro-mayhem.

While simple and often musically somnolent, its heart-wrenching effect is ultimately hard to shake.

Berdan deals with organized religion and his personal conflict of identifying as a Catholic but being repulsed by the bigotry, repression, and hateful acts committed in the name of religion. It isn't quite clear if he comes to a resolution, or if that's even possible. Regardless, The Long Walk is some of Uniform's most challenging, disrupting work yet.

Lemon Twigs commit wholeheartedly to the bizarre narrative that Go to School is built on. Leaving no ridiculous tangent or exaggerated flourish unexplored, the result is a larger-than-life spectacle grown from strange but excellent songwriting.

With Deportation Blues, Brian Christinzio has created his own Big Star 3rd, less druggy but just as much a musical voyage through one man's psyche that travels through darkness while searching for some gleam of healing light. Let's hope he finds it before he makes his next album.

A celebration of the duo's music, Woman Worldwide rewards fans who want to delve into its musical connections as well as those who want to get lost in its momentum.

Where Mogwai's other scores pushed their boundaries, KIN simply restates their strengths--which, fortunately, are as formidable as ever.

Love Me/Love Me Not is a conceptual step forward for Honne and a compact journey through the highs and lows of love, instantly relatable to anyone who's ever experienced such a human journey.

The thing that Kurstin brings to the table is a refinement, letting Paul's ideas shine incandescently while also revealing that a record this clever isn't tossed off, it's crafted in every respect.

Double Negative is a brave and thoughtful collection of songs that lets Low's beating heart scream for its life against a world without compassion, and if it isn't much fun, in 2018 it's truly necessary.

Like contemporaries AFI and Rise Against, age and experience have smoothed out the band's delivery (Skiba's stint with blink-182 could also be a contributing factor), resulting in less danger and gloom. However, Cursed is ultimately an enjoyable ride, packed with rousing anthems.

There's enough variety to excite and warrant repeat listens; however, pacing suffers when the momentum is cut by otherwise pleasant tracks like "Fractured and Dazed" and "Picture Frame." These issues aside, Let's Go Sunshine is a mature progression for the Kooks, one that points in the right direction for the band's evolution.

The tributes come across as affectionate rather than rote. That's due in large part to a distinctive, emphatic voice and lyrics concerned with their own troubles and colorful characters.

Twenty-five years after their debut, they still retain that power, while finding ways to surprise within their firmly defined style.

More a headphones-type album than a radio-friendly one, what emerges are still songs before compositions or productions, though they may appeal to the more explorative indie rockers.

Weed Garden is a nice little diversion, and finds both Beam and the band he oversees at the top of their long-running game.

Muncie Girls have foiled the sophomore slump with Fixed Ideals, and if they sound a bit less D.I.Y. this time out, they still sound like a smart and forceful rock band that can deliver great music while offering plenty of food for thought.

Sultana could stand to edit herself a bit better, but Flow State is unquestionably the work of a first-rate talent with potential, and if anyone is going to teach young women about the innate coolness of the guitar, she seems like just the person to do it.

Monsters Exist retains several hallmarks of the classic Orbital sound, but it isn't an album for '90s rave nostalgia purists pining for another "Belfast" or "Halcyon." Instead, it continues their tradition of making forward-thinking albums which reflect the present but glance excitedly, cautiously, and fearlessly into the future.

The trio is often content to hover, swirl, and dissolve without resolution, saving only the last quarter of the 12-minute title cut for a truly needling rhythm and Wyllie's primal squeal.

Sometimes it's hard to tell if Love, Loss, and Auto-Tune is meant to be some sort of parody of current R&B production techniques, or a conscious effort to upturn Swamp Dogg's music and send it someplace no one would expect to find it. Either way, it's obvious that Swamp Dogg still knows how to write a song, and even at the age of 76, he's still vital, passionate, and eager to throw a curveball at the expectations of anyone and everyone. Talk about Total Destruction to Your Mind.

Bodied is a few tracks longer than necessary, but its best moments are bewildering, and display Ital Tek's continued evolution as a sound designer.

It's a challenging album, especially at close to an hour in length. Its one that holds its share of fascination, however, with its alternately biting and poetic lyrics, persistent ache, and unpredictable patterns that are still discernable if often transient.

Lacking the intensity of her main catalog, Great Thunder plays out more like an addendum that an essential Waxahatchee recording, but the songs are still worth discovery.

The overall effect is warm, unsettling, and artful, but most of all catchy, up to and including the intimate closer, "Moon Like Sour Candy," which ends with a mandate to try.

The Bones do let loose on songs like the disco jam "Got It Bad" and "LivWithOutU," a grooving, straightforward love song. Taken as a whole, though, Young Sick Camellia feels almost like a concept album, one framed by and rooted in a confrontational contemporary reality.

Unrelentingly harsh and moving deliberately away from previously charted territory, Head Cage might disappoint fans looking for a rehash of former styles and statements, but those excited by Pig Destroyer's journey through new forms of despair and hostility will enjoy hearing their hybrid sound continue to mutate.

The album's glitchy title track is sparse yet acutely detailed, and sinister without seeming too evil-minded. Like the rest of the album, it seems curious about the dark side rather than fully possessed.

It's a solid debut, both in terms of its songwriting and textures, with no "for an actress" qualifier warranted.

Besides continuing a trend toward more structured and, at least relatively speaking, more subdued material, it also sees Hernandez step back as frontman for their most democratic effort yet.

The Art of Pretending to Swim is a strong example of how one man with an unlimited number of tracks to fill can create a compelling and revealing collection of songs. If this doesn't always sound like what one would expect from Villagers, its emotional impact shows that it's clearly O'Brien's work.

The whole affair plays like the listener is eavesdropping on Prince creating, and there simply can't be a reissue more valuable than that.

Joyce Manor may still be finding their footing in this more mainstream rock field, but there's a lot to like on Million Dollars to Kill Me, indicating that they're moving in the right direction.

Unlike Summertime: Willie Nelson Sings Gershwin, Nelson's limitations aren't a hindrance, and the arrangements aren't excessively polite, which means My Way is an appealingly light record: it's performed with more affection than reverence.

This is the sound of a working band locking in on their groove.

As a whole, there is plenty of growth, craft, and quality songwriting here even if the approach is more polite than it used to be.

The result is a bracing expression of visceral emotions that refuses to go the easiest, most comforting route, as well as the most focused Sumac album yet.

Sometimes the sounds feel a little too alien to decode, but when production spirals out of control for a moment, part of the appeal of 1 Time Mirage is listening to the production team reign their wild creations back in.

Claustrophobic yet adrenalized, Another Life is a goth-rave nightmare transmitted from an apocalyptic future.

Ultimately, superfans might be polarized by the experimental musings of Elephants on Acid, but those with some distance will find this curiously assembled collection pleasantly puzzling in its layers of trippy appeal. Something this unexpected from such an established act can't help but feel refreshing.

For all the excess and buildup, this exhibits Wayne on an upswing, lucid and invigorated.

The songs are strong but the reason to listen to Bad Mouthin' is the performance, how White maintains his thick, heavy mood from beginning to end, always sounding compelling through the familiar changes.

Undeniably dark and haunting, Burn Slow succeeds in taking the listener far from the beaten path while living up to Liebing's artistic standards.

Although there's nothing groundbreaking on this album, Young Romance is warm and pleasant from start to finish, ideal for sun-kissed afternoons and carefree nights.

At first this can feel less immediate than previous work, but much like Phosphorescent's winding journey, C'est La Vie burns slowly and leaves impressions both spiritual and sonic that merit repeat listens.

In a way, with all its emphasis on over-achievement and a continuous supply of re-recounted autobiographical content, YSIV can be as mind-numbing as the mumble rap Logic rails against, but the proficiency and fervor are indisputable.

A confounder rather than a crowd-pleaser, Fabriclive 100 is nevertheless a highly thought-provoking glimpse into the minds of two brave individuals who think very differently than anyone else.

Taken together, the record's simple ballroom dance rhythms, memorable melodies, and nuanced performances are a recipe for pop confection, however unhappy.

Taken as a reaction to toxic politics, a relentlessly discouraging news cycle, and generally raw emotions, Vitriola is a beautiful slice of wild anger. While it can feel relentless at times, these songs find Kasher and his bandmates swinging at anything that moves with all the passion and power of their best albums.

For those who aren't put off by its favoring crafted texture and melody over mood or structure, it's also absorbing, offering layers to uncover with repeat listens. Trivia of note: Perfect Shapes is Wasner's first time producing music that isn't her own.

Making the most of the various environments where it was recorded, the album feels like a travel diary picked up sporadically along the way. Some entries expand on every thought and some are left half-finished, but these contrasting moods reflect the peaks and valleys of Vile's journey, both literal and metaphorical, in getting to this chapter of his music.

Overall, Reduxer is as pleasantly surprising as it is satisfying, offering an exciting counterpart for fans of Relaxer, while providing 11 fresh reasons to appreciate the original incarnations for those who might be less familiar.

If anything, ATW feels like a product of pure instinct, and while it may take some patience to absorb, there isn't a single note that feels coerced.

Bunny seems more like an album to mentally pick apart than dance to, yet it's not hard to lose one's self in the rush of Dear's inventive rhythms.

As alluring as his spooky, skeletal arrangements are--steel guitars are used as howling accents, not solos; he occasionally gooses his band to follow a train track rhythm, but is usually content picking out support on his hollow acoustic--it's Wall's concrete sense of time and place that gives Songs of the Plains an unusual resonance.

Magick Songs provides a genuine journey, and that propulsion is enough to power JEFF the Brotherhood through the moments when they indulge in hazy pastiche, assembling a washed-out watercolor version of '70s sci-fi that was already a faded memory by the time of their birth.

An inventive way of uniting her body of work, Warzone furthers her legacy as a promoter of peace and understanding.

Estelle's creative energy is manifest here, so much so that the constant rotation of featured guests becomes a distraction.

Flourishes, along with Kelly's sharply honed wit, keep the otherwise moody and slow Dying Star from seeming somnolent, and they're enough to help steer attention away from the album's appealing nocturnal sheen and to the songcraft, which is sturdy and enduring.

Where it differs from the debut is in lyrics that are heartfelt but deliberately less personal than Me.

Its sonic audacity is so bracing, it's relatively easy to forgive the lyrical stumbles, which crystallize on the dirty puns of "It Girl," but that's nearly beside the point because, unlike Love Stuff, Shake the Spirit never seems indebted to Elle King's idols. Instead, it embodies her own bold, bawdy heart.

T.I. is joined by a long list of high-profile guests, including Sam Hook on the gospel-kissed "Seasons"; Young Thug and Swizz Beatz on the moving "The Weekend"; and Anderson .Paak on the booming R&B-trap hybrid "At Least I Know." Triumphant album highlight "More & More" with Jeezy harkens back to T.I.'s 2000s sound, a booming, bass-heavy anthem that recalls his early hit "What You Know" and P$C's "I'm a King."

A Wonderful Beast feels more like a partially successful experiment than a fully realized meeting of the minds, but Johnson, Carney, and Branch complement one another better than one might expect, and this shows Johnson is still game to try new things and push the boundaries of his musical comfort zone.

Live from the Ryman doesn't change what you already know about Jason Isbell as a writer or a performer, but as a document of his many strengths, it's powerful and thoroughly entertaining, and is one more reminder that he's as smart and gifted as any songwriter at work today--and he can work the crowd like nobody's business.