While not a low in their catalog by any means, No Geography is also not their strongest or most memorable work to date. It's best not to call it a comeback, just another ample addition to their decades-long discography.

Considering the combination of such talents, it's a wonder that LSD is so good and so fun. While it might be too relentless for some, it's an experience to embrace and enjoy.

By making such a decisive shift in direction, CTE wind up dampening the squalls of White Stripes, Strokes, and Pixies that defined their first decade of records, but that change also emphasizes how the group are at heart pop-pastiche artists, favoring style and sound over a finely honed song.

The band show significant growth here on what is easily their most accomplished effort to date.

While the subject matter may sound heavy, hard-earned lyrics are delivered throughout the album with a relaxed, affable tone befitting the group's twangy, sauntering indie rock.

All the supporting work is understated and studious, ideally compatible with Carner's substantive ruminations.

In all, this is a solid debut full of well-written songs and plenty of attitude that delivers on the promise of her early singles.

It's the final nail in the coffin for their garage roots, but they sound rejuvenated and excited in their unbridled exploration of new sounds.

Even if it's not quite as fully realized as some of their other albums, King's Mouth boasts enough beautiful music and striking imagery to make it well worth hearing, especially for Flaming Lips fans who miss the music they made in the 2000s.

Even when the songs tend towards harrowing, questioning themes, I Love You. It's a Fever Dream still sounds romantic, soft, and even a little bit naïve. The deepening emotional content that Matsson laces into his familiarly sweet songwriting makes this set of songs one of his most resonant and revisitable.

Oh My God struggles to balance the austere with the earthly and would have been a better record with about four or five fewer songs. Still, though, it comes close to its ambitious goals of double-album greatness and the highlights represent some of Morby's most focused and wizened work yet.

While some songs might feel like B-sides and incomplete visions, the band works around these precious vocal fragments so well that listeners might not notice or even care.

Ambitious in a different way than the producer's earlier releases, Song Feel is every bit as close to the heart.

Though France warded off rumors of a band breakup prior to the album's release, it's clear that Foxygen is moving on from the past in dramatic fashion with an album that's part formal complaint and part kiss-off.

It's fun to hear them spend time with the psych-pop of "She's a Rainbow" and get into the murk with "Dancing with Mr. D"--but it's not quite enough to justify a purchase for fans who already have these hits elsewhere. But for those who somehow don't have this music or are looking for a basic overview of the Stones' reign on album rock, MTV and beyond, this does the job.

While Rich's hyperconfident personality is in full focus, The World Is Yours 2 is elevated to a higher plane by its smart production and who's-who of guest rappers.

Emerald Valley isn't the slam dunk that Invitation was, but it's more than good enough to suggest this project has legs, and here's hoping the participants find time to cut a third album sooner than later.

Throughout, the 400 Unit, specifically Amanda Shires, who provides soaring harmonies and some truly emotive violin work, adds considerable sonic heft to the proceedings, and help to imbue Ritter's workmanlike folk-rock narratives with the kind of studio finesse that sometimes eludes him when left to his own devices.

At 40 minutes, this is easily Q's leanest LP. It would be meaner with the removal of the inane Travis Scott collaboration "CHopstix," the uncharacteristic single.

It's bleak and brutal, but it's never suffocating, and it encourages reaction and resistance. There's even some light shining through during "Post-Scarcity Anarchism," when a much brighter, more hopeful melody emerges through the frazzled synths and piercing noise flares. A few ambient interludes somewhat dull the album's impact, but relentless, abrasive pounders like "Futures Betrayed" and "Quantum Unfolding" provide the bulk of the program.

Imagine Asbury Park, New Jersey encompassing an entire musical planet and you get an idea of what Little Steven and the Disciples of Soul are doing on Summer of Sorcery, and if you dig rockin' soul, this should be right up your alley.

Ultimately, Drastic Measures is more distinctive and memorable for its unique textures than things like melodies and grooves, although its more organized songs forms give them something tangible to adhere to.

Scatter the Rats is a triumphant return packed with odd comforts and familiar memories. Two decades later, L7 have aged quite gracefully, no matter how unfitting that word may be when describing this ever-raucous crew.

Graffin remains a potent evangelist of the punk idiom, and while there's nothing on Age of Unreason that would sound out of place on anything that came before it, the band's commitment to keeping the genre vital, both musically and lyrically, feels as necessary as it does timely.

Lofgren's originals may not carry the same swagger, but when they're surrounded by these Reed co-writes, they're given a slight lift: the whole affair simultaneously feels like an affectionate tribute to a departed friend and a resuscitation of Nils's gut-level rock & roll.

A more-than-promising debut, Useless Coordinates makes good on the potential of Drahla's previous work and suggests they're not done evolving.

Undress sounds and feels like the Felice Brothers, capturing their loosely tight charm in a manner that honors both sides of the equation, and is certainly an above-average release in their canon.

It can feel as if she's whispering secrets, but just when that gentleness threatens to get lulling, she scales great heights with elegance. These cannily deployed skills give The Front Porch the faintest hit of grit yet there's also a sense of fragility to the record; it's music that treasures the bittersweet melancholy of a moment that seems gone even as it's being lived.

I Am Easy to Find has loose ends and picturesque detours in addition to a revolving cast of characters and a suggestion of mess that give the album an appealingly unkempt sense of humanity.

As a whole, 10,000 feels indebted to a particular school of '80s and early-'90s underground rock, but pleasantly so, and with its own bouquet of freshness and distinction.

Compared to the astonishing Konoyo, Anoyo does feel a bit like less focused variations on the same ideas, but as it stands, it's still an intriguing, otherworldly blend of ancient instrumentation and technological exploration.

Pile hold on to all the anxiety and fury of youth here, but present their dissonant squalls with a mature, metered patience that just adds to the slow-boiling listening experience.

Unlike Kicker, which worked as a short, sharp blast to remind people the Kids were still around, Problems is the sound of the band figuring out how they want to sound in their new incarnation and pretty much nailing it.

On The Best of Luck Club, Alex Lahey adds a few new tricks to her repertoire without losing touch with what she was already doing so well, and based on this music, it's a safe bet that she'll be delivering more great songs in the future.

Cohen's voice maintains the album's consistently floaty quality through these sparser tracks, making for a relentlessly dreamy set that's lost in thought and desire.

The Secret of Letting Go retains that balance of experimentation and pure feeling, and sounds perfectly at home within Lamb's discography.

The key to 3 is that the group might be less noisy, but ultimately they're no less weird, and if the album sounds like they're still making sense of their new configuration, their eyes are still on the buzzy prize, and this is a great, challenging, off-center rock album.

Warp and Woof is a series of short sprints compared to the marathon of Zeppelin Over China, but it covers a lot of ground at a brisk pace and it's a whole lot of fun.

While there are a couple other relatively lively passages on the album, the overall effect is decidedly thoughtful and stoned; Living Theatre leaves listeners with the drifting, droning "Distant Episode" and the spare, interlude-like guitar instrumental "Angelino High."

Persuasion System signals a bit of a different approach for Haley, but not so much that it will alienate anyone who enjoyed his earlier releases.

Shifting perspectives as it changes colors, Deluxe Hotel Room is proudly, almost defiantly urban; the songs are concerned with a decaying relationship and the production is sophisticated, purposely blurring lines between styles and eras.

Rave isn't a radical departure from Bogdan's earlier work, but it is a welcome reminder of what we've been missing out on for over a decade, and to anyone addicted to his singular style, it's much cause to rejoice.

Sombrou Dúvida feels like another strong set of jams with a constant flow of bells and whistles transforming it into a tripped-out daydream.

He's sounding a bit like a curmudgeon, but he embraces his eccentricities, which means this contrarianism wears well on record, even if it doesn't in real life.

Jumping from dusty folk to booming R&B might feel jarring, but Webster's versatile personality is the core of Atlanta Millionaires Club, and the entire album flows through its changes as naturally and pleasantly as a cool breeze in the depths of summer.

Although instant, maximum commercial impact is no doubt the primary objective, the album does come across as more considered than the average Khaled LP.

Somewhere in here is a 40-minute program with greater impact. Getting to know the whole thing well enough to make a custom-contracted edition is worth the time.

Much more forceful and revolutionary than Doomsquad's previous efforts, Let Yourself Be Seen is easily the band's most engaging and focused work.

An album that requires and rewards close listening, We Fall is an evocative reminder that there's much more to Wiggs' music than the Breeders' elliptical orbit.

Despite all of its lofty mysticism, Levitation never feels exclusive. The walkabout that served as the narrative throughline on Majesty has morphed into a full-on hallucinogenic dance party, with that journey to enlightenment now being extended to the listener.

Emotionally, Act Surprised feels just like Sebadoh, but if you ever wished they'd make an album that would sound big, loud, and suitable for blasting on your car stereo, this is a sure step in that direction.

With the exception of a couple specific later singles, this is the best and most comfortable the O'Jays have sounded since the '70s.

Its cover inscribed with "In loving memory of Nipsey Hussle," 4REAL 4REAL would be the most subdued YG album even without that stirring reflection.

Overall, Where the Action Is is another reliably interesting and well-written addition to the band's latter-day renewal.

The best moments of Rainford prove that Perry's creative flame is still burning bright, more than five decades after he first began making music.

Stray Cats spit out allusions to their idols and classic oldies, nod at surf rock and country mythos, play a few blues shuffles, and generally have a whale of a good time. It's notable that these high spirits are evident on a reunion album because they were largely absent on the trio's previous reunions: this time, it sounds like the group is in it for fun, and that makes a huge difference.

The rich palette of soulful musical styles he draws from is often at odds with his strangely plain American diction. Yet, the vivid tones of his African heritage transmuted through his Ohio upbringing are a major part of his story, and with his melting pot of styles, influences, and cultures, Sinkane sets out to prove that we can be many things at once and still find acceptance and love.

Mixing a sophisticated amalgam of melody, sound, and poetic lyrics, Hawley's artistry lies in his ability to communicate a deeper vulnerability that openly engages hard questions about identity, and the often overlooked yet profound benefits of romantic love.

The album drifts by with a bittersweet solitude, like a more innocent reading of Satie or a less distraught take on the piano ambience of Eluvium contemporary Goldmund, reflecting on the most dream-like aspects of childhood with these warm but distant piano pieces.

Kind Heaven is every bit as ambitious an album as we've come to expect from Farrell, but it's more in line with the eclectic hard rock energy of his most popular work.

Both confounding and compelling, Office Politics, like much of Hannon's work, feels a bit like a magnificently rendered lark, but as per usual, it's hard not to admire the craftsmanship.

While Lust for Youth proves that the duo is among the best acts updating synth-pop for the 21st century, it also suggests that it might be time for Norrvide and Fischer to broaden their horizons once more.

Throughout the album, the duo maintain a balance between daring production tricks and direct feelings, producing futuristic experimental pop that builds on the two producers' combined histories while pushing things further.

Streamlining arrangements and song structures more so than in the past, the album's pop-leaning blend of dance-funk and the softer side of classic album rock is their most accessible yet.

2019's Age Hasn't Spoiled You introduces a multitude of influences and sounds into Greys' palette and makes for a challenging but overall worthwhile listen.

While uneven, it's an album that sticks, both for its theatrical melodies and uncommon benevolence.

If Prince intended these songs to be released under his own name, they'd be given richer, bolder arrangements and his singing would've been sharper, but he meant these as guides toward a finished product. Keeping that caveat in mind, this is an enlightening and illuminating listen.

The rollicking, Rivieras-evoking organ-rock tune "Berlin Weekend" is just one of several other worthwhile stops on a 12-track album that ups the ante on an already attention-grabbing debut.

With Widow's Weeds, the band hasn't necessarily reinvented their wheel, but there's a deep sense of change and growth, both in personal perspective and potential direction. While it takes time for the album to really sink in, it ends up being one of Silversun Pickups' most emotionally satisfying and cathartic listens.

Swimmers is a flowing, peaceful listen that doesn't need to be broken into small bits; it works best as a unified 35-minute diversion from the stress and struggle of the daily grind.

Time will tell if Perfect Version is a fascinating anomaly in Julia Shapiro's catalog or a bold step into a new phase of her career, but either way it's brave, powerful music that speaks from the heart and the mind. Anyone who has liked her work with Chastity Belt or Childbirth should investigate this study of the emotional flip side of Shapiro's songs.

Immersive, joyous, but sometimes insubstantial, A Bath Full of Ecstasy lives up to its name in more ways than one. Even if it's not as consistent as some of Hot Chip's other albums, it's still a welcome, well-intended, and timely respite from the world at its worst.

This effort lacks the element of surprise that enlivened their previous album and the songs aren't all quite at the same level, but for sheer smart-punk action, Dumb are clearly still something special. Club Nites suggests they have plenty more albums worth hearing left in them, and this album deserves a spin on your listening device of choice.

Appropriately titled, the album is packed with feel-good, summery nostalgia that breezes along at a clip with Greedo's varied delivery, which switches between auto-tuned crooning and wordy bars.

In opting for a ruminative approach, Parry has crafted more of a guided meditation than a cosmopolitan fun house, resulting in a collection of songs that often feel less tangible than those that populated its antecedent. Still, it's an ambitious work that is undeniably widescreen, but far removed from the grandiose chamber rock of his meal-ticket band. It celebrates family, self, friendship, and the existential pain and wonder of life.

The production throughout Daughters of the Sky seamlessly melds mallet percussion, trippy effects, and enticing synth textures, maintaining an atmosphere that's both organic and otherworldly. A handful of somewhat darker instrumental interludes are present, but there's still a cautious sense of determination to them.

All these sounds mean ANIMA sounds superficially similar to its predecessors (The Eraser, plus 2014's Tomorrow's Modern Boxes), but Yorke and Godrich are craftsman, offering a different perspective on a familiar subject. That subject is, naturally, a distrust of the modern world and a fear of a creeping dystopia, a paranoia that suits the troubled times of 2019.

Kicks feels like a lesser statement from Jones compared to the more ambitious original material of 2009's Balm in Gilead and 2015's The Other Side of Desire, but as a performer, she's still a unique talent, and the best moments here are a true delight.

While its charms might take a few spins to unpack themselves, Andersson and Dornauer have applied their own unique set of filters and experiences to the dreamier side of post-rock on this solid debut.

While Dusk to Dawn initially seems like the soundtrack to an endless vacation, it ends up unexpectedly vulnerable and revealing, allowing for introspection and spiritual reflection after the all-night party experience.

This music is still monstrous in its unrelenting pound, and for stamina and impact, this is as satisfying as anything to come down the alternative metal highway in recent years.

Throughout, the slippery beats, rangy songwriting, crisp, breezy production, and the streetwise pleasure-seeking confessionals and sideways jokes, make for a feel-good (even in its darker moments) summertime urbano album to be pumped loudly from car stereos, at parties, or on the beach.

This album of skeletal club tracks might be a bit puzzling to listeners who prefer Aguayo's more song-based efforts, but it's definitely worthwhile for anyone keeping an ear to the vanguard of global club music, particularly labels like Príncipe Discos.

Well-rounded and creative, the album is another solid showcase of K.R.I.T.'s talents.

Though Bleached are still figuring out how to use their newfound clarity, the process finds them generating sparks like never before.

Weather functions as one would expect of Tycho's vision of a pop album -- it's immaculately crafted as well as relatable, while also smooth and unchallenging enough to warrant repeated background listening.

ic. Sincere and genuine activists who can move the crowd like this are a rare commodity, and A People's History of Gauche belongs in the collection of anyone who doesn't want to shut down their brain or their convictions when they head out to the dance on Saturday night.

While ERYS occasionally drags over its seventeen17 tracks, it's an immersive experience that finds Jaden at his most vulnerable, processing his messy young adult feelings into a relatable and sonically exciting way.

Production-wise, this roams around with some abrupt switches, supplying slow-motion and spaced-out grooves, low-profile boom-bap, and wayward guitar scrawl with highest frequency. Hynes' downcast disposition and the return of several Negro Swan collaborators -- Lu, Isiah, Pat, and Porches -- provide the continuity.

The set won't take the place of any of their studio albums, but it's a strong addition to their body of work that fans should treasure.

For Trojan Jamaica, it's a solid enough introduction from a number of top-shelf participants.

The band mixes things up with the a cappella word salad of "Sleepin' at the Meeting" and the sentimental balladry of "Paris to Sleep." By and large, however, Hotel Last Resort follows the formula the Violent Femmes have been perfecting since their inception, delivering an above average batch of their wiry, smart, and sometimes tortured songs.

It's divisive, danceable, and more than a little bit myopic, but it bears the creative mark of an artist whose acumen for pop craftsmanship is uncontested.

Although Showboat Honey isn't as instantly gratifying in terms of infectious hooks as his previous releases, solid songs that settle in with repeat listens make it a worthy addition to his increasingly reliable catalog.

Cut Your Teeth is great, passionate, rabble-rousing rock from a group with something to say, and if this is how good they've come be after a few months of pretending they were a band, imagine what might accomplished if they put on their thinking caps and pondered global warming for a year or so.

The band wears its middle age well, sounding focused and more exacting than they did in the '90s, yet still undeniably vigorous. That Soundgarden sustains that energy throughout a marathon is a testament to their strength as musicians and that Live From The Artist's Den maintains its interest throughout its two and a half hours is a testament to the depth of their catalog.

Wilderness shows Jade Jackson taking on a more demanding musical and emotional range than on her first LP, and the finished product finds her carrying the added weight with flying colors.