What's particularly compelling about Nérija's take on cross-pollinated jazz is that it never sounds like they are trying to imitate one particular sound or era. Instead, they offer a set of contemporary tracks that feel connected to their diverse London-roots.

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

Well-crafted and well-executed throughout, A Dream Is U should appeal to fans of any of the aforementioned styles as well as to lovelorn romantics.

Volbeat have long been superstars in their native Europe for quite a while, but this album should go a long way to establishing them as festival headliners across the rest of the globe.

At a time when too many people are questioning if rock & roll is alive at all, Ty Segall is doing the work of four or five people in keeping it healthy, and First Taste is ample evidence that he's nowhere close to being done, which is good news indeed.

Nothing is as distinctive as past delights like "I Will Come Back," "Wait & See," and "Okay," but it's all sturdy and even-keeled, programmed for start-to-finish listening.

Occasional nearsighted lyrical perspectives and three or four excellent but inessential tracks keep The Big Day from quite reaching masterpiece status, but it's still the most grown up (and the most polished) rendering of Chance's eternally bright spirit in his catalog.

While it might test the patience of some of the group's listeners, those willing to simply lie back and get caught up in the flow will find it more than worthwhile.

Although nobody would call Dessner a great orchestrator, at least not yet, the performance with the Orchestre de Paris under Mattias Pintscher is energetic and sharp. Recommended.

They may be channeling Incesticide-era grunge ("Datura"), jagged, Sunny Day Real Estate-inspired indie rock ("F Jam"), and straight-up shoegaze ("CCLL"), but underneath the hood Heaven Is Humming is pure, uncut Goon.

Mini Mansions are remarkably witty, and the way they combine their cleverness with newfound emotional depth makes Guy Walks into a Bar… their most satisfying album yet.

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.

A secondary release in execution and intent, this is recommendable only to serious fans with a justifiably insatiable curiosity for what the artist creates.

The resulting Emily Alone is a devastating, unapologetically vulnerable set of 12 ruminative guitar and keyboard songs, one of which is entirely spoken ("Still").

[Everything Hits at Once] proves there are few bands more adept at giving the venerable best-of compilation a refresh.

The result is an LP more rounded and more stirring than the excellent first one.

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.

A worthy follow-up and tonal cousin to B Boys' strong debut, Dudu hits its mark.

Para Mi renders some of the best elements of his songwriting into more accessible forms. Removing the layers of fuzz leaves Cuco's multi-colored songwriting in clear view, revealing an artist still finding his way. This can make for moments of awkwardness, but it also brings his endearing vulnerabilities to the forefront.

The band prove just as adept at these more subdued and sad songs as they do at the uptempo rockers and the blending of the two styles and tones makes for a fascinating record. It's certainly more complicated, both musically and emotionally, and shows the band growing in interesting ways.

1977 was a vanguard year for music, and Cherry Red does a brilliant job excavating and polishing the gems, both obvious and obscure.

The comprehensive nature changes our perception of an event we all thought we already knew.

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.

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.

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.

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.

With Fever Dream, Of Monsters and Men took a chance and rediscovered their creativity, embarking in a colorful and bold direction without sacrificing their heart and soul in the process.

The sad country warmth of "Play the Game" and the starkly fingerpicked front half of "Soon" are soothing in their implied heartache, inviting listeners to lean in and try to untangle McMahon's lyrics through her downcast mumbling. Sadly, those same mumbled vocals sometimes become a hindrance during the slower sections of the album, distracting from the otherwise well-written songs. Still, delivery affectations aside, Salt serves as a solid introduction to this sensitive and engaging artist.

For the most part, it forgoes the gentle, acoustic side of his approach in favor of the kind of blown-out power pop he made his name on. ... Add in a couple very short acoustic interludes, and SONGS FROM SAN MATEO COUNTY gives an almost full account of Molina's particular and impressive talents.

On The Lion King: The Gift, Beyoncé deftly connects a kid's flick to something bigger, honoring not only Africa and its traditions but also shifting perspective to future destiny and greatness. It's a superior statement and a lesson on how to properly execute a winning soundtrack.

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

The Age of Immunology is an idealistic, impressionistic rebuke to Brexit and the other xenophobic movements of the late 2010s. ... On The Age of Immunology, they set this message to beguiling, fantastical soundscapes that are as welcoming as they are unusual.

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

There's little ambiguity here and, compared to their earlier work, it's a refreshing evolution and maturation. That a group of Canadian punks would be the voices of reason in 2019 is a wonder in itself; that they've delivered one of the most accomplished albums in their catalog this late in their careers is another.

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.

Generally, Egoli bends toward joyous exuberance, music that sustains itself through its spontaneity and its open heart. The immediacy makes Egoli an instantly inviting listen but it's the camaraderie that makes it a nourishing one.

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.

Fiske's participation makes PSII even more compelling than its fine companion album. It is arguably Elephant9's finest live offering to date, and a guidepost to other bands showing how it's done.

Drab Majesty have crafted an album that works on its own merits, with songs that you may want to revisit just as much as your favorite vintage post-punk classic track. There's also a nice emotional arc and flow to the album that speaks to the band's theatrical nature as they recontextualize a kohl-eyed '80s goth aesthetic for the next doom generation.

Its glassy, placid groove isn't a reflection of his blandness, but how Sheeran knows that this is the sound that defines global pop in 2019.

The radical changes Trash Kit made to their music only heighten their time-tested strengths, and Horizon is some of their most satisfying music as well as their most forward-looking.

At times, his contemplation gets a little too meandering, and some songs fall on the wrong side of the fine line between anthemic and clichéd. Nevertheless, The Soft Cavalry is a promising debut that's held together by the emotional commitment Clarke and Goswell bring to each of its songs.

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.

Though it's unlike anything he has attempted before, the ambitious sounds of Tracing Back the Radiance still bear the distinctive stamp of his artistry, one that feels restless, nostalgic, and quietly hopeful regardless of the form it takes.

From beginning to end, The Long Goodbye is pure Pere Ubu: surprising, unexpectedly tender, and above all, thought-provoking. Even by their standards, this is a wild and challenging album -- coming full circle rarely sounds this exhilarating.

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.

Filled with lonely songs that are as warm as a hug from a long-lost friend, Purple Mountains is more of a rebirth than a debut, as well as a potent, poignant reminder of how much Berman has been missed.

The band surely meant for this to be a stopgap until their next album, but rather than giving this a spin it would be more rewarding to go back to Con Todo el Mundo and enjoy its many charms instead. The ways they explore the outer reaches of dub on that album are truly exciting, while this comes off like a school assignment in comparison.

It's a cool wash of shimmering dream pop, soulful, electronics-laced indie rock, and windows-down Americana that somehow manages to be both unassuming and grand.

If you got to know METZ from 2015's II or 2017's Strange Peace, Automat will amaze you as you ponder how long they've been this good, and if you haven't been introduced to their work, starting at the beginning isn't a bad idea at all. Either way, you need this music.

Torche can get dirty as well, as evidenced by the gnarly, Alice in Chains-meets-Mastodon attack of "Extremes of Consciousness" and the scorching, aptly named "Inferno," but for the most part Admission administers seismic confections that vary in sweetness but always satisfy.

"Love Will Find a Way" closely echoes the levitating version on Pharoah Sanders' like-titled album, all the while seeming to inch toward "Love's Holiday." It ends this invigorating album just as effectively as the blueprint began its parent release.

While there's a mercurial effect to Until the Tide Creeps In at least partly due to its songwriters writing separately, common tendencies, artful execution, and a melancholy dreaminess tie it all together, like a novel that's consistently compelling as it moves through multiple perspectives.

Her most accomplished statement to date, a collection brimming with emotion, attitude, and unexpected delights.

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.

While the group's tone reflects the hardships of life in politically suppressed Kinshasa, KOKOKO!'s songs extend beyond mere protest music, bearing an aura of mystery and a celebratory sense of their own spontaneous creation. In an era of musical abundance and sonic homogeneity, it's increasingly uncommon to hear music this fresh and original.

On their third campaign to open the public's eyes to the ills of modern society, Los Angeles industrial anarchists 3Teeth expand the scope of their assault with the powerful Metawar, a hulking monster that makes shutdown.exe sound tame in comparison.

While some of Garson's other albums may have been more overtly groundbreaking, there's something endearing and pure about Mother Earth's Plantasia that resonates even more powerfully decades later.

Poised and spacious, warm and inclusive, and highly provoked, Stonechild is another memorable addition to Hoop's discography.

A paranoid set that's nonetheless cathartic and dependably fun.

Aptly named, Patience is the sound of a band who have spent a few years growing into themselves and it honors Mannequin Pussy's raw punk past while opening doors to new creative possibilities.

To Each His Own goes down plenty easy, due in large part to the effortless soft rock arrangements--warm electric piano, weepy pedal steel, lush harmonies--but all of those breezy pop vibes would feel rote were it not for Pulido's affable presence and keen ear for melody.

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.

Birgy's command over both her arrangements and Dolphine's emotional flow meet with some of her best songs, making the album her strongest statement in a history of exceptional work.

Gou's DJ-Kicks set, as with some of the series' most interesting volumes, feels like a music-obsessed friend enthusiastically sharing all of her favorite tracks with you, and the results are always charming and exciting.

Mead delivers each of these songs with understated soul and that's what gives Close to Home its comforting spirit: it feels as cozy and nourishing as home itself.

It might not be a coincidence that the most emotive and well-defined songs are collaborations. "Needed" (Dan Wilson), "Patience" (Ólafur Arnalds), and "Save Me" (Doveman) are also the standouts on this abbreviated set, which feels almost as secondary as Blood Remixed.

A substantial portion of the album is either reverential or referential to a degree that it can sound more like an exercise in homage or a licensing tactic than a distinctive work.

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.

If Down to the River isn't as adventurous or hungry or exploratory as any Allman Brothers Band album, there's nevertheless a deliberately cultivated warmth that's designed to appeal to Allman fans-and, given a shot, Down to the River may well appeal to that audience.

Gode was clearly a bold, daring step into unknown territory for Bratten, and Pax Americana is just as impressive, in addition to being much more accessible.

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.

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.

It's the kind of sunny, burly record that gets the business done so efficiently (the album lasts a little over a half-hour) that you want to start it all over again once it's done spinning.

Although it paints a picture that best fits a degraded postcard, it's relatable in its own earnest way with a poetic air and a sense of urgency.

While Father of 4 is still far more interesting and better constructed than most other Migos-related solo offerings, it re-enforces the notion that the group's chemistry is a stronger force than any one of its individual members' talents.

This retro vibe is appealing and it also helps undercut whatever lingering sense of fatality hangs over the album, since it suggests that Ride Me Back Home isn't a statement, but rather just another enjoyable record in a long line of enjoyable records.

Small Mercies may not be quite as immediate as The Age of Anxiety, but it's fizzing with energy and ideas that prove that Pixx the right person to sing about what's wrong with the world.

There are enough hooks in this bouquet of confusing-if-passable genre-hopping tracks to keep him on the path to future hits, but nothing comes remotely close to the lightning in a bottle of "Old Town Road"'s accidental perfection.

Overall, Jambinai's third album is both grander and more restrained than its predecessors, achieving a vast, wide-open sound that is equally focused and direct.

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.

It's a good-time record designed for daylight and, after the murky Turn Blue and its ensuing hiatus, it's refreshing to hear the Black Keys step out of the dark and into the sunshine.

The sheer breadth of the ensemble's expression on We Are on the Edge is staggering, a strident declaration that Mitchell and Moye will carry the AEC's powerful, boundary-less creative ethos full force into its sixth decade.

Return to Center can feel like a bit of a lark, but it's administered with enough gravitas that it's easy to dial into the flow.

On the whole, these aren't the boldest reimaginings of her songs that she could have delivered, but it makes for an extremely uplifting listening experience that works as a lovely placeholder until her next album--and as a calling card for anyone unlucky enough to not already be familiar with Weaver's sound and songs.

Fans of Veronica Falls can still lament that the band is gone for good, but Patience is a fine substitute that delivers the same great songs and deep feelings only in a different package.

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.

The sound on this set is better than many other volumes in the series. And of course, the music is unassailable in both choice and presentation.

In less than a half hour, Curry establishes himself not only as one of the most capable and exciting artists of his generation, but also worthy of a place in Miami's rap pedigree, right alongside the local icons who inspired this gem.

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.

Not only were there not many musicians hanging in the studio this time, but all of Rise seems stitched together on the computer, with each of the three core members doing their part when they cleared time in their schedule. The result is a drag, the sound of a revelers who have no idea that it's well past time for them to head on home.

Buddy Miller lends all the support any artist could want or need on these performances, but he's smart enough to understand Julie Miller is every bit as deserving of the spotlight. On Breakdown on 20th Ave. South, he makes room for her to shine, and it's a very welcome reminder of her gentle strengths and singular voice. We need her in these days.

It simply finds Stickles and his crew moving from one position of strength to another, and it's as bold and exciting as anything they've delivered so far.

Nostalgic throughout, yet often more affectionate than bittersweet, Gold Past Life represents another consistently strong set from Johnson, one with melodies and sentiments that linger.

As Hatchie exceeds the expectations set by Sugar & Spice, Keepsake reflects her growth into an even more confident and varied artist.

As a first chapter, Schlagenheim crackles with the same excitement as ground breaking records that came before it did when expanding the known boundaries of experimental sounds.

Despite this contemporary flair, what keeps Help Us Stranger lively is how the Raconteurs blend and mix barbed pop and blues skronk so their classicism seems fresh, not stale.

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.