Future Times is a meditation on an uncertain era, and while it gets uneasy at spots, it takes solace in the healing powers of nature and remains optimistic that goodness will prevail.

Not every collaboration is as strong as the sum of its parts, but Painted Shrines is a wonderful example of two like-minded artists bringing out the absolute best in each other.

These 13 has little to do with Mathus and Bird recalling past glories, and much more to do with the beauty and mysteries of the music of the American South. Anyone who wonders why they love this stuff so much need only listen to this splendid album to find all the answers.

Younge's spoken parts function as interludes, side commentaries, and supplemental statements related to a balanced mix of vocal numbers and instrumentals. The cuts with minimal or no vocals are poignant even without considering titles like "Dying on the Run" and "A Symphony for Sahara." Those that more prominently feature singers Loren Oden, Sam Harmonix, and Chester Gregory are filled with riveting moments.

Angel Tears in Sunlight, her final album, continues in the same expansive, unconstrained mode as her earlier work but explores different tonal realms.

Flock is the work of a daring artist, a crafty writer and performer, and someone who is always worth following to see what kind of great things she might do in the future.

IAN SWEET's most consistent set of songs to date.

The moody stateliness of When You See Yourself showcases their knack for building melodrama. The downside to this gift is that the album can seem like an interconnected piece, not a collection of songs. Individual tunes don't float out of the ether so much as fade into another handsome moment that's distinguished by production flair as much as it is by melody or hooks.

What sets Start Walkin' 1965-1976 apart from earlier comps from Rhino and Raven is that it's not strictly a hits collection. ... Instead, Start Walkin' 1965-1976 focuses on the stranger numbers within Sinatra's catalog -- hazy, symphonic psych-pop written and produced by Hazlewood. ... They help make for a convincing portrait of Nancy Sinatra as an idiosyncratic artist happily working within the confines of L.A.'s lushest studios.

Even without the conceptual framework, Harlecore is a briskly entertaining look back -- and forward -- at some of EDM's fizziest, gaudiest sounds.

In its amorphous flow and stately pace, In Ferneaux is a little less immediate than some of Blanck Mass' previous music, but its fully realized, cathartic musical journey is just as powerful.

Artful, delicate, and mesmerizing throughout, the album's subtle, gradual suspense may find some straining not to miss a moment.

He openly draws from history but situates his original music expansively in the here and now; his many stylistic referents combine in new ways to offer a stubbornly holistic, emotionally resonant, and visionary approach.

Poised somewhere between elegance and ferocity, All Bets Are Off is an exciting debut from an artist who thrives on the unexpected.

It's a buoyant sound that brings to mind a vibrant mix of artists like Deee-Lite, Greyboy Allstars, and Stereolab. Vocally, Murphy has a stylishly flat resonance that evokes iconic singers like Astrud Gilberto and Nico. It's a perfect fit for the duo's vintage-inspired recordings that wouldn't sound out of place pumping from a car stereo at the beach in 1970s Rio de Janeiro.

Way Down in the Rust Bucket isn't one of the more revelatory items to emerge from Neil Young's archives since he began major excavation in the mid-2000s. However, for those who consider the joyous stomp of Neil Young & Crazy Horse rock & roll comfort food at its best, this is a feast to savor, a long and rollicking celebration of the pleasures of turning up the amps and inviting in the spirit.

Maxïmo Park remain unabashedly heartfelt, and by staying true to this on Nature Always Wins, they deliver some of their finest songs in a while.

The synthy, downbeat direction they chose may not be the most thrilling option, but the band make it work thanks to their musical vision, the wonderful voices of Merve Dasdemir and Erdinç Ecevit, and the fact that nobody else around is making music quite like this.

It's not just a follow-up to their first mildly disappointing venture, it's a bracing reminder of just how thrilling King Gizzard can be at their peak.

Listening to Dylan lead these groups through a loose rendition of Harry Belafonte's "Jamaica Farewell," an extended, almost funky jam on "Long Black Veil," a friendly boogie through "Matchbox," and competing versions of Jimmy C. Newman's Cajun country stomp "Alligator Man" is a hoot, plus there's something almost touching in hearing Bob tentatively sing Paul McCartney's "Yesterday" on the same session where Harrison jammed. Nothing major, then, but the modest pleasures of 1970 are certainly worthwhile.

This is not a straight-up electronic record, nor does it resemble the polyrhythmic Afro-pop confections the Atlas Mountains have become known for. Instead, Marry has crafted a more personal and cohesive pop album with an engagingly homespun feel that is quite refreshing to listen to.

Willie sounds younger here than he has in years. He seems to be singing with a smile, as buoyed by his band as he is by these standards, a quality that gives That's Life an endearing kick.

Their music is evolving in sync with their technology, and AAI presents a bold challenge to conventional notions of creativity, authenticity, learning, and emotion.

By revisiting their past, Cloud Nothings find something new in it, as well as something timeless, and The Shadow I Remember is a full-throated, full-hearted triumph.

All the songs carry the weight of themes already present in the improvisations, however, making for an even more poignant second album by a project that continues to stand out from the melancholy indie crowd.

The melodies go exactly where you want them to, as do the emotional beats, resulting in a lovely travelogue that avoids steering down any seasonal roads, and in doing so quickly fades from memory.

Even with the quick-shifting styles, the emotional charge of the songs and Mulherin's distinctive songwriting sensibilities expand nothing,nowhere's range and keep the album from devolving into a scattered mess.

Since it's inextricably linked to the eponymous movie -- which generated plenty of controversy and public outcry for its portrayal of a non-verbal autistic woman by Sia's longtime public stand-in, neurotypical dancer Maddie Ziegler -- MUSIC might suffer from that burden of connection, which is a pity because it's actually quite good.

The music easily stands out on its own, even without the choreography and high-res video projections.

With nothing to prove and never having seemed too concerned about impressing anyone, the Melvins continue to take their wild-eyed chaos anywhere they choose -- Working with God goes to some places that are strange and unforeseen even for them.

Despite the bigger sound on average, however, Baker's brutal lyrical authenticity remains the main attraction.

Detroit Stories is stuck in a confusing limbo somewhere between tribute to Detroit and another album of the kind of campy, theatrical, radio-geared hard rock Cooper has been turning in since Hey Stoopid. Never quite committing to either concept, Detroit Stories ends up feeling like a handful of solid covers of classic Detroit tunes with some Alice Cooper extras thrown in at random.

For Neale, the grainy imperfections and surreal experiments of Acquainted with Night open her songs up to an unforeseen world of solitary beauty and personality, where the clean, professional sound of earlier work rendered them a little bit anonymous.

If this album could stand a bit of editing to make it more concise, it leaves no doubt they have the talent and vision to be an artist who is going to be around for a while, and it's fascinating to imagine where they can go next. Terra Firma shows where they are now is already pretty impressive.

It's a powerful, evocative work that speaks to the time that created it as well as the continued creative growth of a unique and gifted group of artists.

Her songwriting talent and willingness to experiment was already evident on 2017's Play 'til You Win, but the perfect balance of exploration and poignancy on Overview make it a significant step forward for her.

It may have taken Mogwai 25 years to open up like this, but it was well worth the wait: As the Love Continues is another peak in their long and influential career.

Throughout, the star of the debut remains Kirby's inviting voice and hummable melodies, and, at less than 30 minutes, Cool Dry Place will leave many fans of the singer/songwriter tradition eager for more.

By focusing on bringing light and shade into the margins, the Hold Steady wound up with an album that feels vivid and alive; it's as if the songs themselves have a life outside of the recording.

Largely acoustic with a limited amount of overdubs, Flowers feels somewhat more minimalist than the aesthetically varied Petals -- which isn't to say it's any less impressive. There is a sense that Williams is celebrating her influences.

This unrepentantly unsettled, searching feel makes private LIFE a little less immediate than Ecstatic Arrow, but as they lean into the more experimental side of their music, Virginia Wing share a rich inner life that reveals more with each listen.

These nine songs are some of the most neatly rendered of the band's post-2010 output, but lose none of their mind-bending effect in the production upgrade. If anything, the album finds the Telescopes delivering their messages of self-discovery and cosmic love louder than ever.

While the individual songs may not be as fun on average as those of its predecessor, Lines Redacted does drive home the feeling of dissatisfaction while, like a Ramones under the influence, locking into an admirably irreverent, distinctive persona.

Ultimately landing like a skill set in progress more than an artist fully formed, Super Monster is nevertheless sweet and full of winsome promise.

While one can certainly hear touchstones echoed throughout New Fragility, it has the singularity and focus of one artistic voice.

While slowthai has always been praised for his honesty, he reveals more of himself on Tyron than before, and it's equally as compelling as the sharp social commentary of his debut.

As a whole Glowing in the Dark is a mostly solid, well-built album with enough standouts to keep it fresh without venturing too far out of the band's wheelhouse.

Me and Ennui Are Friends Baby isn't an easy listen, but it's a captivatingly beautiful bummer that ranks with the darkest, drunkest, most flailing moments of Leonard Cohen, Cat Power, and other perpetually sad-hearted songwriters.

Just Dropped In (To See What Condition My Rendition Was In) demonstrates Sharon Jones gave 150 percent every time she stepped up to the microphone, regardless of the circumstances, and this album is a testament to her great talent as well as her gift for putting her own stamp on any song she chose to try on for size.

From its opening gossamer notes to the plaintive, minimalist closer, Somewhere maintains Sun June's distinctly aching, intimate form, even through denser sections, floating by like a distracting memory.

Occasionally the vocals (and the constant name-dropping) become overbearing, but the musicianship is strong and adventurous, taking familiar instrumentation in unexpected directions, and Black Country, New Road are undeniably original.

Arriving at a time when so many artists are inspired by his music, Lost Themes III: Alive After Death proves Carpenter is still one of a kind.

If you want to hear Lucero kick out the jams, When You Found Me will not be your cup of poison, but if you want to hear a great American band bear their souls with fearless grace, this is a must.

While Sound Ancestors as a whole seems as lifetime-encompassing as Donuts, it doesn't feel quite as focused. Still, it sounds recognizably like both Madlib and Four Tet while taking their music into directions where neither artist has ventured before, and its highlights are life-affirming.

With In Praise of Shadows, Puma Blue has crafted a deliberate slow burn of a debut album you'll enjoy taking your time with.

Hopefully time will lead TV Priest to devise a more individual musical personality, but judging from Uppers, they have more than enough talent to make them a group to watch.

Chaotic roll-out notwithstanding, the album is sure-footed and attests to the artist's high standing among the crowd mining pre-disco R&B, jazz, and pop. Celeste and her fellow songwriters and producers -- led by main collaborators Jamie Hartman and Josh Crocker -- have all the knowing, tasteful moves down pat and exhibit some tricks of their own.

Despite subtle shifts in arrangements, the songs of Good Woman share a certain world-weariness that's balanced with a refreshing self-assurance that -- like the sisters' elegant, blended vocal harmonies -- never loses its composure.

Musically and emotionally, there's so much going on that it's sometimes hard to keep up, but Ignorance is a major statement that never feels oversimplified. While she's growing so much with each album that it seems risky to call this Lindeman's best, it's safe to say this is another outstanding achievement from the Weather Station.

Tasjan Tasjan Tasjan is an album that invites -- and benefits from -- full immersion, as it has its own odd, alluring flow. The nods to the past only serve to indicate how thoroughly Tasjan has absorbed Petty and Lynne, finding a way to spin universal pop into something personal and poignant.

I Told You So is grittier, edgier, more confident, and focused on staying in the moment; it's kinetic in its adventurous chance-taking yet surrenders none of the good-time feel, groove consciousness, or energy. Hands down, it's their best outing yet.

Even though the album isn't as immediate as his prior work, it rewards repeated listens and some concentration, a smooth experience fit for wasting a day away between the sheets.

While several tracks are less than essential, the mixtape's best songs are powerful enough to make Demidevil the strongest showing of Ashnikko's formidable skills and uncompromising energy to date.

The Third Chimpanzee unmistakably feels like a side project. It's intriguing to hear what sounds and moods he can create outside of the context of his band, but even compared to the more fully realized MG, the EP merely sounds tentative. However, it's worth noting that the striking cover art was painted by Pockets Warhol, a capuchin monkey, which is fascinating.

Both nervier and more confident than their debut, On All Fours is a huge step forward from a band that's well-equipped to bring post-punk's legacy into the future.

In sum, those who had trouble with To the Bone, Wilson's well-executed homage to the progressive pop of Kate Bush, Tears for Fears, and Peter Gabriel, may have even more with this. Most fans, however, especially more recent ones, shouldn't find The Future Bites an inconsistent entry in Wilson's catalog, but an arguably minor one that steps sideways instead of forward.

Mercurial but persistently larger than life, even in quieter moments, the sophomore set doesn't yield quite as many memorable hooks as Midnight Sister's debut but still holds fascination.

By the time Vertigo Days comes full circle with "Into Love Again," he and the rest of the Notwist have taken their audience on a wild and wise journey of the heart.

While a bit muddled and confusing, the album certainly invites the audience to listen attentively and figure out their own interpretations.

Big riffs battle with the kind of nagging singalong choruses the band have avoided over the years, a combination that makes Medicine at Midnight rush by with the intoxication of a good night out. ... Medicine at Midnight is a speedy, hooky, and efficient record, every bit the party album Grohl promised.

Creating an atmosphere that's brooding, anguished, and at times ecstatic, Divide and Dissolve communicate their righteous outrage in a way that doesn't require words to be explicit and effective.

Unlike his previous albums, the play times on Dead Hand Control vary widely, with tracks sometimes transitioning into one another. It ultimately has the effect of a night out at the club or, more precisely, a series of 12" extended dance mixes à la the 1980s that are cued up among radio cuts.

The album feels like a departure: with its soft orchestral balm and sweet melancholic undertow, OK Human offers a singular, complete listening experience unlike anything else in their catalog.

If the musical qualities of Collapsed in Sunbeams suffer from a bit of sameyness by the end, the formula is a soothing, pleasant one with sentiment to spare and, as a debut, full of promise.

It would be disingenuous to say the Besnards had been on a downswing prior to this, but in wrestling with mortality they tap into a well of vital energy that makes the group appear revitalized and full of vigor.

While the album slowly gathers components and rhythmic complexity as it progresses, it remains cautionary in tone and, for Son Lux, restrained.

Even though the Body are clearly trying different approaches and continually pushing their sound into new territory, I've Seen All I Need to See still somehow carries an air of familiarity. ... Nevertheless, by doing away with some of the more extravagant, theatrical elements of the Body's past albums, the release is undeniably some of their most direct and punishing work.

The Blue of Distance refers to distant mountains appearing blue due to the scattering of higher-frequency light. An apt name for Saxl's meditative, ultimately wistful-feeling album, it also evokes its persistently immersive water themes.

Simply putting a group of barely-familiars in a room together doesn't necessarily guarantee collaborative magic, but Yorkston & the Secondhand Orchestra complement each other's strengths well on this richly satisfying matchup.

Even if The Last Exit is sometimes a little too wispy, it's still a fitting soundtrack for getting lost on the open road.

If emotionally unresolved, Ongoing Dispute does deliver on engaging hooks and rousing choruses, at least until that wistful outro, "Friends on Ice," which closes the album in a wash of chiming guitars and circular thought.

This being the Rhye album with the most layers, Milosh was wise to employ the brilliant Alan Moulder (My Bloody Valentine, Nine Inch Nails, the Killers) as mixing engineer. Every change pays off.

Palberta5000 is more mature than anything they've done before but just as playful, and more accessible while impossible to mistake for the work of any other band.

With Cooler Returns, Kiwi Jr. remains suspended in an alternate reality where it's always the last day of undergrad classes and a group of bookish housemates is hanging on a front porch waiting for a party to start around them. The sophomore semester moves with a little more intention and nuance than the freshman year did, but the year-end celebration is no less of a blast.

Apart from the foggy, piano-driven beatless interlude "Lido," the tracks pretty much remain in Bicep's familiar club-tooled mode, and while it can seem a bit formulaic over the course of an album, their consistency largely works to their benefit, and Isles sports several undeniable highlights.

Though it was stitched together from outtakes and covers, From an Old Guitar is a fully satisfying album filled with the spirit and vigor that has made Dave Alvin one of the enduring heroes of the Americana music community.

This is a warm, low-key affair, a record about family bonds and togetherness that gets by on its gentle, endearing vibes.

Overall, Weird! is an energetic breath of fresh air that doesn't sacrifice heart or a hopeful, supportive message, adding another jewel to Yungblud's crown as princeling of the outcast masses.

Cudi wrestles with the same struggles that have plagued him since he began sharing the complexities of his internal world, but at its best, Man on the Moon, Vol 3: The Chosen shows that years of struggle have yielded substantial growth.

This is a relaxed, generous affair, an album where the featured star and his guests defer not just to each other but to the songs they are singing.

It's not every day when a band makes a second album that's more thrilling than their debut, but Pom Poko aren't an everyday band. Their tricks are always in service of their songs on Cheater, and their excitement about the possibilities of their music is utterly contagious.

While losing some of the pop appeal of his previous work, Whole Lotta Red represents Playboi Carti coming into a new phase of his artistry, however jagged and disorienting the process may be.

The collaborators' willingness to take their songs unexpected places and shift gears multiple times within a single track is one of their most interesting attributes. The Helm of Sorrow continues to push the boundaries of their genre experimentation, and lands in even heavier territory.

These tracks are balanced by a few sparer intimate ones steeped in nostalgia and an uncertain hope. Throughout Two Saviors, Meek's uniquely kindly tenor conveys evocative phrases and settings that likewise stand apart from the crowd.

With Catspaw, Sweet has crafted an album that cuts deep and leaves a strong impression.

While similar in feel to her debut, Magic Mirror is a significant step forward for Charles, who really steps up her game here.

Shame sounds unstoppable on Drunk Tank Pink, yet they also find new ways to channel that energy.

Heaux Tales doesn't have the heft of Fearless, Love Me Back, or Reality Show, but few contemporary R&B LPs twice its length are as substantive.