Taken together, Thumb World is the type of album that should make for an entertaining, weekend-afternoon diversion with a timely world view. Recommended for playlisting: "Bad Algebra."

With Wild Wild East, Jain has crafted a masterful, robust celebration of America's immigrant cowboy soul.

Landreth and Field bring out the best in one another. They are symbiotic in their restless energies and experimental visions, and have consistently delivered excellence together; Blacktop Run is no exception.

Ferry had impossibly combined the hazy sheen of golden-era Hollywood glamour with a wry singer/songwriter sincerity and a wallop of good-time rock & roll. He brought all of this jazzy charisma to bear on this live concert date, offering a cross section of songs from these two solo productions.

While Surrender Your Poppy Field is less immediately approachable than the other albums from this period in the Guided by Voices saga, it's experimental, not meandering, and for fans with a taste for their more esoteric side, this will hit the spot and then some.

Random Desire doesn't necessarily sound like the Afghan Whigs in their glory days, but it does a much better job of summoning the emotional energy and musical tension that made Congregation and Gentlemen classics, and it's the best music he's made since the end of the Whigs' first era.

Even if it's not always as vivid as some of her earlier albums, Miss Anthropocene is often fascinating and defies expectations in ways that still fit her always thought-provoking aesthetic.

Spinning Coin work hard to expand their sound in interesting ways, and the end result of their efforts is an album that's challenging, bracing, and almost defiantly, certainly thrillingly, unique.

Marshall duly stuffs his concise follow-up to The Ooz with the terror and negative liquid references, both literal and metaphorical, for which he is known.

Maybe broken into a series of singles or a couple of EPs it would have been more palatable, but in this form it's just too samey and underwhelming to make much of an impression

The Family Songbook sounds pleasingly simple on the surface, though closer inspection confirms this is an album of tremendous craft that achieves its effects in a way that camouflages the effort that went into its creation, allowing us to simply appreciate the beauty.

Suite for Max Brown may be a direct sequel to its predecessor, but it's nonetheless creative and thoughtful. It's also very accessible. Experimental music never sounded this welcoming.

Nothing is lost in the process and tracks like "Bora Lá" with singer Rogê and Leporace, "Samba in Heaven" with Joans, and "This Is It (É Isso)" with Pascoal and Leporace, retain all the funky, soulful rhythms and hooky melodies that made Mendes' seminal albums so captivating.

Ultimately, four albums in, Spook the Herd proves Lanterns on the Lake to be one of the most consistent acts in the business.

With each album, they continue on the path of self-discovery and maturity, pulling off yet another effortless display of pop prowess without forgetting the fans that have helped them along the way.

Frequently immersive and occasionally revelatory, Companion Rises feels utterly modernistic in its uneasy blend of earthy stability and distractive ambience, mirroring what for many is the normal mode of 21st century existence.

71 years old at the time Ordinary Man was released, Osbourne's voice in in great shape, sounding more or less like he always has. How he's making music this strong after riding the crazy train for more than half-a-century is anyone's guess, but the better songs here rank among his best.

The more subdued affect of Aloha makes it a less immediately satisfying listen than New Magic, but that does nothing to change that this is a rewarding effort from an exciting and engaging talent.

It's elegant, regal even, yet so immersed in its icy solitude that the listener is often left looking for cracks in the facade instead of common ground.

Ultimately, the outcome is similar to Drift: while the band's anything-goes spirit is admirable and their passion is unmistakable, they simply sound much better when they're rocking out, and the other songs are just not as interesting.

The instrumental pieces are a bit harder to suss out with, both "The North Carr" (laughter) and "Darbari" (peace/tranquility) coming across as more mournful than their subjects might suggest. As a whole, though, Navarasa: Nine Emotions is another strong effort from this agile and unexpectedly prolific trio.

While this set is not as immediate as their first two albums, Foolish Loving Spaces winds up being the one that is most rewarding after repeat listens, an enjoyable, nostalgic ode to pure affection. Coolness be damned.

A stunning achievement, with Loom Gately beautifully honors her mother as well as her commitment to uncompromising music.

Both a poignant tribute to his friend and former collaborator and a weary meditation on love and death, And It's Still Alright cuts a curious balance between tender introspection and a playful sense of confidence he's carried over from the Night Sweats era.

Thanks to the life the duo breathed into the album with their dedication and passion, Swimmer should keep fans on their toes for sure.

The album's a comeback that once again makes Tame Impala an artistic force equal to their commercial appeal.

Splid (which translates to "Discord") commences with a slow-building storm of distortion that gradually reveals a blazing, punk-metal core festooned with Iron Maiden-worthy guitarmonies.

Alvin's roots in the blues certainly play a big role in The Third Mind, but so does hard rock, psychedelia, jazz, and improvisational music, and this context -- essentially a jam band without audibly hippie-like tendencies -- shows that his willingness to take a risk pays off handsomely.

There's an endearing tenderness to Trifilio's personal songwriting style that mostly avoids emo clichés, and the band's cautiously buoyant indie pop walks the line between sweet and muscular on this solid debut.

Throughout, Visser's earnest, quivery vocal delivery adds authenticity to emotionally raw, guileless lyrics, making Boniface an affecting debut with just enough hooks to compel repeat listens by pop fans.

The production gives everything a hazy, ethereal glow, but it makes all of the blazing guitar riffs and pounding drums resonate, rather than washing them out. Easily the band's most accomplished album to date.

None of these tracks rank among Wild Nothing's strongest work, but they serve as an excellent extension of the relaxed, beatific mood Indigo cultivated.

Delayed for over a year, Treat Myself lacks some of the effortless charm of her debut as Trainor trades her breezy singer/songwriter energy in favor of a sophisticated production style that sometimes threatens to lose her in the mix. Still, there are plenty of fun moments.

It's a dense volume of street storytelling and especially reflective lyricism from this rap MVP, and even at its extensive running time, Born 2 Rap delivers lots of highlights.

Simply being able to re-create the sound and flow of Fela Kuti's glory days would be an accomplishment to be proud of by itself, but on Fu Chronicles, Antibalas once again show they're not just borrowing but building on their influences, and this album speaks to the head as much as the hips.

Though 14 years passed between this album and her last fully solo outing, it sounds as if it were conceived fully formed, unaware of time or trends. Instead, There Is No Other... perfectly suspends the smiling mood of a hushed evening, embodying the fading warmth of the day's last sunlight.

Moreland is honest and articulate as he tries to sort out his demons, and if this is a very different album for him, the songs are heartfelt and well-crafted, and the production by Matt Pence of Centro-Matic takes the songwriter to a different place with effective, moving results. Some of John Moreland's fans are likely to be surprised by LP5, but as an expression of his talent and range, it stands with his best work to date.

All or Nothing is undeniably impressive, but at the cost of some of the heart that's as vital to Shopping's music as their brilliant interplay.

This album is a bold step into fresh creative ground for the Lone Bellow, but they seem to still be settling into their new musical home.

It's the work of a master musician/producer paying wonderful tribute to Scott-Heron for sure, but it's also a fully realized McCraven album, chock-full of his instrumental, arrangement, and production prowess. If you didn't know better, you'd swear this was a collaborative date.

There's nothing bad about taking such a big swing; it's definitely better than pulling your punches at this point in your career. As with much of Never Not Together, it's beautifully thoughtful and fantastically ambitious.

The effect of his well-matched partners' work is only a little less intoxicating than it is on the preceding numbers.

It's music for meditative mornings or for afternoons in need of a dose of consolation and comfort.

Theory of a Deadman (or just Theory, or TOAD) have never tried to disguise their commercial aspirations, which is probably why they continue to peddle platinum-selling wares, but the polish-to-passion ratio here feels way, way off.

It offers a series of tough, meaty, adventurous songs, that abundantly indulge raw power and emotion. Bogren's production and Sepultura's execution are in perfect balance. Further, Green delivers a career-defining performance here. It is the first Sepultura album in decades to measure favorably alongside the band’s classic output.

Green Day are watching the world burn from an air-conditioned dance floor on Father of All.... While the album doesn't deliver their most memorable songs, its wild glam experimentation and attitude-heavy performances show a band still seeking new thrills even decades in.

Even though it's focused on loss -- in life and in love -- Perdida ends up feeling like a rebirth, losing the past to make way for the future. Like the barren tree on the album cover, life eventually blooms again in time.

Like the collage that adorns its cover, The Big Exercise can feel quite busy at times, but there is also a sense of refinement in the band's approach. A dueling sense of danger colliding with a strong attention to detail makes the Homesick all the more exciting.

Just as vibrant and full of wonder as Popp, Scis is another imaginative, unpredictable world of sound.

Little details and the quality of the writing that help push the boundaries of what otherwise sounds like a quintessential Innocence Mission album.

For all the varnish Feldmann applied, Hurry Up and Wait still sounds like the Dune Rats, which is good news for all concerned, except perhaps whoever bankrolled the sessions.

Polachek further distills her approach with a collection of deeply emotive songs that showcase her delicate vocals and intricate pop sensibilities.

The production, sequencing, and performances on Chaos and a Dancing Star reveal Almond at his most sophisticated and ambitious, at the very top of his game; these songs are beautifully written and arranged, and they arrive as deep emanations from the singer's personal well of passion, pleasure, heartbreak, sin, and loss.

Like Torres' previous album, Silver Tongue takes some time to unfold, but it's well worth it; by fluently expressing the resilience it takes to bounce back from hard times, she comes into her own.

When We Stay Alive captures every nuance of Leaneagh's journey with unflinching honesty.

While Have We Met doesn't sound quite like top-shelf Destroyer, it's a fine testament to Bejar's talent and his gift for having things both ways at once, lyrically droll and musically cool and on point.

Overall, Dwell is a stirring album best enjoyed at home during the middle of winter, when the weather renders venturing outdoors a fool's task.

Keeping Up Appearances is tuneful and exciting, morose and beautiful, noisy and sweet, and it should have heralded the triumphant arrival of Patrick Doyle as a solo artist. Sadly, he didn't live to see its release. The album is a fitting tribute to Doyle's music and also a tragic reminder of the great songs he will never write or play.

While Darkness Brings the Wonders Home finds Smoke Fairies toying with a new and different approach, it also reinforces what they do best; it's a detour that happens to take them someplace worth visiting.

If I Am Only My Thoughts is the work of a band already at the top of their game, and anyone looking for music that wraps them in a warm blanket of intricate sound and a calming embrace of restrained emotion could do a whole lot worse.

The Unraveling is a dire yet vivid depiction of the American zeitgeist at a crucial time in the nation's history, and a decisive collection of songs these musicians clearly wish they didn't have to write.

While Likewise still features the singer's peculiar, leaping vocal melodies, one of the album's biggest surprises is its sweeter, softer demeanor. That quality is partly manifested in lyrics and vocal performances that channel strong currents of compassion.

Even if the songs on Walls aren't the most distinct or memorable, they come from a place of authenticity that's genuinely heartwarming and enjoyable. Like any other settled adult, he's perfectly content to stick to the reliable and Walls winds up being the most mature and natural of the ex-1D bunch.

The soft, subtle tension between the deeply felt songs and the smooth, sophistication of the execution is quite rewarding, since the album can alternately play like a plea or a balm, depending on mood or timing.

Perhaps the album doesn't sound like country music, but Corgan has assembled the album with country ideals, keeping the music and emotions direct but also relaxed, and that rigorous stylistic aesthetic makes Cotillions one of his better solo albums.

Deacon reassures the listener that inner peace "starts any moment you'd like." Mystic Familiar's triumphant victory lap is "Bumble Bee Crown King," a dazzling instrumental featuring Dustin Wong's unmistakable, spellbinding guitar work.

Slow-moving and thoughtful, I Was Born Swimming thrives on its central idea of rootlessness, roving through moments of heartache, joy, wistfulness, and the myriad pangs of melancholy that accompany personal growth. Brimming with personal observations and subtly dynamic performances, Williams offers a strong debut.

After several records of heady composition and high-concept music, Be Up a Hello is refreshingly direct. Without simply revisiting a bygone golden era, Jenkinson reconsiders some of his old ways, taking some of his more familiar ideas to new, strange places. As always.

El Dorado might not boast enough shredding for King's usual audience, but if their interest in roots music goes beyond barroom blues into vintage soul, they should find plenty to enjoy here, and he's a more capable vocalist than some would expect, making this worth a spin for listeners who enjoy modern-day soul.

Quite simply, there are precious few indie songwriters who can impress as easily as Andy Shauf, and Neon Skyline is the work of an artist delivering on their significant promise.

Recalling contemporary debuts by names like Anna Burch and Madison Cunningham in terms of its polished sophistication, consistency, and fault-finding lyrics, Trophy introduces a songwriter fully formed.

At the album's wildest and dirtiest moments, there's a sense that her heart isn't quite into the revelry. Still, those moments are few and they're overshadowed by the sheer joie de vivre of Kesha feeling the freedom to be so silly she doesn't care if she falls on her face.

Swirlings is another prime example of his brand of gorgeous, multi-dimensional sonic-shaping. Both lush and interstellar, his compositions contain drifting, spacy melodies that unfold at a natural, leisurely pace.

All in Good Time is well-rounded and balanced perfectly between punk energy and poppy songcraft. Though Eddy Current Suppression Ring may not have wanted people to make a fuss about their return, it's kind of a big deal and this record is proof of that fact.

For those familiar with Chadwick's previous work, in addition to the lyrics' especially low lows, noteworthy is the album's tunefulness, especially in the case of the soaring piano pop entry "Please Daddy" and reflective "Make Hey." Though there are plenty of her trademark semi-melodic, improvised-sounding tirades as well.

In concept and execution, Thin Mind is Wolf Parade in their classic form, but with a force and a sense of purpose that makes them sound fresh and vital. Losing DeCaro seems to have goaded Krug, Boeckner, and Thompson into showing their fans they still have the goods, and it works on Thin Mind.

Though the closest Godin comes to the excitement of Contrepoint is the jazzy, suite-like finale "Cité Radieuse," Concrete and Glass is still a fine example of his distinctively smooth style.

The issues Wire grapple with are evergreen, and as they persevere in the face of stupidity and apathy, Mind Hive's unflinching, poetic songs prove maturity is a weapon they wield just as deftly as outrage.

It's commendable that the Black Lips are trying to find new things to do after 20 years of balancing order and chaos, but Sing In A World That's Falling Apart isn't the exciting new aberration they need.

Music to Be Murdered By sees Eminem pulling himself out of Kamikaze's wreckage somewhat, though he still falls victim to moments of willful dumbness and a tedious self-obsession that's become par for the course. On the album's best tracks, there are still hints of the fire that made Eminem a rap legend.

Bonny Light Horseman resembles a somewhat above-average indie folk effort, not at all bad but not of lasting impact. Maybe they should have messed with this stuff a bit more.

Through it all, Tennant and Lowe feel as confident and progressive as ever, honoring their signature sound while continuing to push it into the future.

Like each of their previous releases, Making a New World is an ambitious, original, and exquisitely crafted work, full of rich details and compelling songs that translate the past into modern new shapes.

It's fair to say that Been Around out-performs her excellent debut, both in terms of composition and execution, making it a release well worth the wait.

Taken together, infectious rhythms, smart lyrics, and effervescent chorus hooks that deliver throughout Ur Fun make it more than a mere amusement.

For a band that is beloved on home soil but often gets lost in the crop of late-2000s U.K. exports, this catalog highlight is ample evidence of artistic greatness and proves that, even after the darkest of days, beauty and light are on the horizon.

Excellent songwriting and a surplus of surprising melodic ideas and lyrical wit can't be outshined by the band's deceptively loose approach.

Countless Branches, perhaps due to its profound yet intimate vision as well as its craft, just may be Fay's masterpiece.

A quarter century after they formed, X: The Godless Void and Other Stories is triumphant proof that they're as passionate as ever.

If Miller hadn't passed, Circles would be an insightful, focused addition to his strong late-era catalog, shining a necessary light on emotional and mental health struggles and sobriety through his deeply reflective lyrics and the wonderfully enjoyable and warm production work by Brion. Instead, it's yet another reminder of lost potential and a life cut tragically short.

Manic showcases Halsey at her nerviest and at her best.

While much of the emotion at the center of Everything Else Has Gone Wrong feels borne out of a period of dark introspection, there's a low-key ebullience and overall strength to the music that speaks to Bombay Bicycle Club's renewed sense of purpose. With each song, you can hear them coming further back to life.

Land of No Junction is a beautifully arranged set with a strange sonic allure, but more than anything, it's Frances' excellent songwriting that holds up this very strong debut.

R.Y.C. is scattered and uneasy, but considering its subject matter and the emotions it expresses, it seems like it couldn't have turned out any other way, so it sounds undeniably genuine.

More than its tunes or even its sound design, Boman's wispy voice and heavy-hearted pensiveness are likely to stick with listeners after the album ends.

Tipping closer to dance-pop than noise-rock, Deleter is one of Holy Fuck's most finely tuned albums, yet the band sound as spontaneous as ever.

These tight, explosive songs combine a refined poetic lyric approach in songwriting and arranging that's every bit as urgent as the album's two predecessors, yet it's so emotionally charged, it leaves the listener breathless and exhausted, as well as compelled and excited.

Marigold offers no major surprises or alterations in the band's sound, just quality songwriting and a rather remarkable consistency.