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.

Rare proves that when she has strong songs and the producers get a little weird, she's just enough outside the mainstream to sound fresh. Add in some deeply felt and real emotion like she does here, and it verges on being something special, maybe her best record yet. If it isn't that, it's at least her most interesting one yet and that's something fans of the homogenized pop scene of the era should celebrate.

Choruses, riffs and harmonies sound familiar because they're cribbed straight from some of the Replacements' best-known songs. The genuine sweetness and naivete that made this bald-faced theft more forgivable on earlier albums is harder to find here, leaving songs that are catchy enough but ultimately feel like hollow impersonations of someone else's work.

Like the first Georgia album, Seeking Thrills is a sophisticated, emotionally complex pop effort that seems to encapsulate the London native's life experiences to date.

As both a symbolic avatar for her life changes and a strong empowerment statement, I Disagree celebrates Poppy's rebirth as a pop-metal alchemist and unabashed rule-breaker.

For the most part, this approach works about as well as it did on their early releases, resulting in a warm but weary amalgam of the Everly Brothers' innate musicality and the Avett Brothers' homespun approachability with a touch of Elliott Smith's downcast ruminations tossed in for good measure.

Truly a natural-sounding collaboration, Saariselka's debut is rich, evocative, and sublime.

The precision may mean 50 Year Trip: Live at Red Rocks lacks spontaneity, but the album does showcase Fogerty at the height of his showmanship. He performed at Red Rocks to entertain the crowd by playing the hits, and what worked in concert works on record, too.

At times, Please Excuse Me for Being AntiSocial feels like it's trying to offer something for everyone, and it becomes difficult to locate Ricch's personality among the different window dressings. Regardless, it's a strong collection and highlights how Ricch can mold himself into different styles and keep things exciting in almost any stylistic configuration.

It takes skills to make a record this smooth and soft without it ever being boring or sounding trite. Noir has those skills and AM Jazz is another example of his abilities as a songwriter, performer, and above all, maker of fine recordings.

Michaela Anne's apparent disinterest in the slick, hollow approach of most contemporary country would have identified Desert Dove as something different regardless of the production, but Outlaw and Winrich helped make this into a striking, satisfying collection of songs that confirms Anne's status as one of country's freshest and most interesting new talents.

The 1969 Ann Arbor Blues Festival is widely regarded as a legendary event among blues purists, and this set lives up to the hype; anyone who loves the blues raw and direct will be thoroughly knocked out by this collection.

Combined, the music, essays, artist photos, and complete lyrics in the booklet make The Time for Peace Is Now an essential compilation -- no matter your beliefs or lack thereof -- for any fans of '70s soul.

More enjoyable overall than Gang Signs, Heavy Is the Head is a well-rounded mix of toughness and sentimentality, and another rightful triumph.

Brutus sound more focused, more visceral, and more locked in with each other throughout. The songs are heavy and ominous but also tap into a sense of passion and vulnerability. The combination is powerful and sophisticated, and the beast that Brutus is becoming on Nest feels unstoppable.

It's a modernization of his sound but not a bowdlerization; if anything, it's perhaps the finest realization of Holmes' blues. At the very least, it's certainly the liveliest and boldest album he's made.

Ballet Slippers excels at capturing the conflict that must have existed for Animal Collective after turning in their most successful and adored work. It might be too challenging for the casual listener, but that particular challenge is intrinsic to most of Animal Collective's work.

Stott's music is disorienting and sickly, but it's also undeniably full of life, and It Should Be Us is just as fascinating as one would expect.

The makeshift album drags, even with its stylistic diversions. Bad Vibes Forever is less a testament to how XXXTentacion helped shape the wave of rap during his brief career and more a bottom-of-the-barrel-scraping of partially cooked ideas he left behind.

It's still Duster to the core -- as sad, exhilarating, and powerful as ever -- but it's colored by 20 years of life experience and dipped even more deeply in melancholy. At a time when almost every band ever has reunited to make disappointing, derivative music, Duster have come back to make their most sonically challenging and emotionally invested record yet.

For an album that hinges on frantic idea swapping, Birthday manages to consistently surprise, making it something of a celebration of kooky guitar-driven pop, all the while maintaining momentum and a sense of unbridled joy.

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.

He certainly talks like he wants to make music that stands the test of time and really matters to people; if that's ever going to happen, he'll need to make records go beyond pleasant and enjoyable. Despite the handful of songs that touch of his potential for greatness, Fine Line isn't quite there yet.

Strange and exciting as ever, So Much Fun touches on the various elements of Young Thug's unconventional appeal and also turns in some of his best material to date.

While earlier recordings like Sonno and Risveglio seemed fragile and distant, this one is far more upfront, with haunting melodies leading most of the pieces, and a steady sense of progression throughout.

PSYCHODRAMA has all the makings of a generational classic. Packing dense lyricism, poignant introspection, and resonant production into a neatly compiled concept, Dave's debut album is the product of a MC beyond his years, standing firmly among the Godfathers and Made in the Manors as one of the strongest British rap albums of the decade.

All of these pieces have aged incredibly well since they originally appeared, and in some cases they're actually more engaging in retrospect -- they're so packed with details that even obsessive fans might have missed something before.

The repetition is noticeable but ultimately minor for the box's target audience of dedicated Floyd fans, who will surely appreciate the care given to both the remastering and the packaging. On that level alone, The Later Years is something of a wonder, which means it's certainly worthwhile for those who have the interest and the cash to partake.

Like its predecessors, Coin Coin Chapter Four: Memphis isn't "easy" to listen to, nor should it be, given the nature of what it explores and explicates. That said, it is a necessary, engaged art that bears repeated listening for its revelation to unfold and hopefully open a gateway to understanding. Arguably, it is the strongest and most compelling of the Coin Coin releases thus far.

Strictly speaking, there aren't many unheard tracks here. Everything from the Spying Through a Keyhole, Clareville Grove Demos, and The "Mercury" Demos sets are here, along with a brand-new mix of the Space Oddity album by Tony Visconti, one that restores "Conversation Piece" as part of its sequence. Setting aside the new mix of Space Oddity, that leaves 11 tracks out of 75 that are making their debut here, including several that have never been bootlegged and a couple that weren't even known to exist.

The collection's 70-odd tracks can be a little daunting, but appreciated one song (or album) at a time, the creaky magic of the group becomes apparent. Beat Happening existed in a rare and singular space, unmoved by anything outside of the excitement of creating art on their own terms.

While some of the musicians play with the frameworks of Allison's music -- most notably Robbie Fulks' fractured reading of "My Brain" and the electro-processed New Orleans vibe of Iggy Pop's "If You're Going to the City" -- most are content to find a middle ground between their own signature approach and Allison's laid-back but emphatic groove.

Dusty is another winning set of pointed observations from Sandman, who effortlessly unloads his thoughts without seeming like a burden on the listener.

The mix superbly demonstrates how the contemporary jazz scene and club culture have cross-pollinated and influenced each other.

Opening piece "Disappearance / Reappearance" recalls the second part of 1994's Treetop Drive, with stark blasts of electronic noise repeatedly shooting out and dissipating into empty space, providing a consistent series of electrifying jolts that are as brutal as they are mesmerizing. Most of the remaining pieces are a series of numerically titled "Occultations," and while they usually aren't nearly as harsh, they're just as striking.

Balances the adventurous and traditional sides of Tiersen's music in a way that honors the sense of wonder and beauty in his work since the beginning.