Several cuts are instrumental workouts, unpredictable and flagrantly noodle-y. Others venture into tranquil folk-soul and soft jazz-pop; for all the animated instrumental flexing on display, it's those atmospheric and simpler songs that move the most.

The band's ability to shift tempos and feelings without coming across as prog rock dorks is definitely a secret weapon.

Ten Songs About Girls isn't only Tender Trap's best album; it's one of the best records she's [Amelia Fletcher's] been associated with.

Signs & Signifiers paints a picture of McPherson as a kind of post-structuralist retro-rocker, living in the moment with one boot in the past and the other boot in the future.

The Life & Times Of... is a solid and recommended release.

This set finds various alternative rock artists paying tribute to Hardin's muse by covering his best-known compositions.

Those looking for something more consistent should first check out the exceptional Serial Hodgepodge, but fans of the poppier side of Lusine will find this to be a nice counterpart to A Certain Distance.

Produced by Spoon's Jim Eno and featuring ex-Black Joe Lewis guitarist Zach Ernst, The Electric Word is remarkably similar to the group's earlier recordings. The lone difference is the superior recording quality.

Another sublime chapter in this group's recorded legacy.

Wed 21 progresses from her previous recordings, but it's an extension of them, not a departure.

While no one is going to accuse I Killed the Prom Queen of thinking too far outside the box, Beloved is an incredibly solid album from the Australian band, and is a fine return to the scene after a seven-year exile.

There's enough of Thee Oh Sees' personality in Drop that fans will readily recognize it, but if you've ever been turned off by their layers of skronk, or the acid-damaged travels into the sonic wilderness, Drop could well be the album where this band finally catches up with you.

He's a modern-day Southern boy, raised on radio pop played in big box stores and playing the back porch on a Sunday afternoon, and those two strands come together beguilingly on this second album.

rouble & Love is unlike any other "heartbreak and healing" album; its hard-won, experiential, Buddhist-like wisdom borders on the profound.

The final result, Don't Wait Up, appeared in June 2014, and was a fitting final salvo from the band, loaded with tough tunes and powerful messages that pack an additional emotional punch as the band rides into the sunset.

The pervasive, blinding darkness that saturates this bleak, sublime music is driven by the band's collective desire to seek ecstasy in the very heart of the void.

Human Voice represents an artist's drive to push his work forward, but also retains the signature relationship with melody and emotional presentation that have always set Dntel apart from the rest.

Songs like "Transparent Powers" and "Selfish Thoughts" find this variety of musical muses floating by beneath Amos' emotive, Will Oldham-esque howl.

At its best, Chubbed Up plays like a withering exit interview from pop culture; taken with Austerity Dogs and Divide and Exit, it shows Sleaford Mods' music is becoming more vital with each release.

This album is a potent reminder of the virtues this band had from the start, seasoned with the experiences of almost 15 years, and it's a welcome and satisfying return to form.

One Lost Day's songs may offer commentary about life's rough adventures but they also express openness, willingness, and tenderness as a result of them.

The news (good or bad) is that Tweedy helped Thompson make just the sort of album that's made him one of our greatest legacy artists, and it's an example of why Thompson is still worth hearing 43 years into a career that shows no signs of stopping.

If Perfect is a tighter and better-focused album than one would have expected from Half Japanese in the '80s or '90s, miraculously it still sound like them, wild but fully engaged, and you'd be hard-pressed to name a band that not only sounds fresh but is still finding new creative paths close to 40 years after it began.

Eventually, the songs do sink in, but the reason to return to the album is its ability to conjure a specific feeling, whether it's the second the sun sets or the moment that paved highway gives way to backwoods dirt roads.

After a listen or two, Black Stone Cherry's back-to-the-cradle approach proves that track for track, Kentucky is not only more consistent, but more satisfying than previous albums.

All of it adds up to an album that feels quietly hopeful, making it a tonic for troubled times.

Terrifying and violent, Wake in Fright is a perfectly logical response to the state of the world.

Like love, The Incessant is not for the faint of heart, but it's a gripping and deeply personal piece of art and another solid release from this gritty, all-or-nothing trio.

This music is eternal, and their obvious reverence for it is shown in how easily they just let it come through. No matter where it was recorded or who plays on it, the feel is the same: Open, willing, and wooly.

Black Notes from the Deep is a jazz album deeply engaged with classy, 21st century soul, yet it refuses skittering, schizophrenic jumping around. Instead it flows seamlessly; it's smartly, even ingeniously arranged and expertly played and produced. In its sheer quality, it underscores Pine's continuing role as the true boss of British jazz.

This Is Glue ends up a clear improvement over the band's debut and something worth recommending to fans of classic jangle pop and anyone looking for some catchy indie rock to help them break free of all the bands that seem content to just cruise along in low gear.

It's a tight, sometimes bombastic, sometimes sweet mix of old-school hard, prog, and psych rock with a shot of indie-era slacker keeping it all grounded--at least for the most part.

Interestingly, the uneven moments on Vanished Gardens have more to do with the Marvels' reticence on the standards. Otherwise, the pairing of this band with Williams sounds natural, effortless, and holistic. There's definitely room for a sequel.

Where I Wasn't Born to Lose You was electric with the excitement of Swervedriver's rebirth, Future Ruins is the sound of a band that's happy to be back and ready to get down to the business of pushing their sound forward.

The Hurting Kind stands head and shoulders above Beulah for its mature vision, powerful focus, and poetic songwriting and production. This is White's finest moment thus far.

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.

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.

Roberts' body of work is consistent enough that The Fiery Margin doesn't necessarily stand out, at least in comparison to his traditionally oriented work as opposed to more experimental efforts such as 2018's What News. But as an acoustic artist exploring the lineage of Scottish folk, he's a major talent, and this album captures him in splendid form.

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.

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.

Songs for Pierre Chuvin is a rough-hewn gem that's a splendid throwback to the wild early days of the Mountain Goats, and it only took a pandemic to make it happen. It may not be that much of an upside, but that makes it no less welcome.

The album is another strong point in the case that Rolling Blackouts are making the best guitar pop anywhere in 2020.

Throughout Someone New, on top of its hypnotic mix of the strange and familiar, Deland's vulnerable voice helps make her self-conscious, searching commentaries all the more engrossing.

While the collaborative nature and scant length of The Makarrata Project might have some fans wishing for more of a straightforward rock album after so many years away, the band nonetheless stay true to their long-held mission with a focused, purposeful, and culturally relevant return to form.

In terms of both recording fidelity and songwriting, Monument sounds much brighter and more polished, and contains some of their most hook-filled songs to date. It's also more overtly danceable than their earlier records.

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.

At under 40 minutes, Liberation Time is relatively brief but free of excess. Despite employing three very different ensembles, McLaughlin delivers a focused album that is as dazzling as it is thought provoking.

Unhurried and stark without being austere, The Nearer the Fountain, More Pure the Stream Flows seems suspended from time but not place: as misty and evocative as it is, the music is grounded in a specific location, which gives this elegiac, enveloping album an emotional weight.

Aided by a wealth of musicians including drummer Wolfgang Haffner, reedist Shabaka Hutchings, and returning keyboardist Robin Taylor-Firth, Evelyn offers some of his headiest and most emotive productions.

Mature and focused, The Kick is a welcome return from Allen, a refreshing and ebullient collection that balances emotional introspection with pure physical joy.

The result of this envelope-pushing is one of their most nuanced and emotionally engaging albums in years, arriving at a different kind of immediacy than can be achieved with loud guitars and angsty hooks.

The Alchemist's instrumentals are fluid and bubbling over with unexpected sound combinations, and the inspired nature of Curren$y's performances comes through even when he's at his most laid-back.

Not unlike the late Emitt Rhodes, there's some of the cult classic singer/songwriter in Ivey's overall vibe, which seems built for a smaller but deeply devoted arena.

The sisters continue to make a serene and highly appealing kind of pop music informed by their Afro-Cuban heritage.

Mississippi Son is an unromanticized testament to living the blues and sounds like it came from the soil. As such, it's a late-period masterpiece.

I Am the Moon: I. Crescent is dazzling in concept and execution. Tedeschi Trucks Band embrace this narrative with ambition, and expose its lessons with creative imagination, emotionally intelligent songwriting, and mind-blowing musicality.

Though Pye Corner Audio didn't necessarily need make such a drastic change, Jenkins pulls it off brilliantly, and Let's Emerge! celebrates the beauty of his music like never before.

They approached the sessions with the idea of capturing the feel of "an old rock song from the '80s," specifically along the lines of Fleetwood Mac, Tom Petty & the Heartbreakers, and Hall & Oates. Where the album really succeeds in this regard is in its strong, economical melodies and a certain warm, bittersweet depth to the songwriting.

Trios: Sacred Thread is the fitting sendoff volume for the project. Its tunes are wrought with nearly symbiotic aesthetic interplay, spiritual connection, intimacy, and even tenderness.

Heavier than ever, Oozing Wound find no resolution or peace with these songs, but continue banging their heads against the wall in beautiful fits of rage and exhilaration.

A remarkable debut album, Yian's reflections on growth cement Chua's identity as an artist capable of deeply personal, honest, and beautiful music.

Jadagu's songs are memorable, creative, and highly relatable, and Aperture is an impressive first album.

It's a well-crafted and often moving album that mixes a bit of Cat Stevens' sound with Yusuf's heart and soul, and it honors both with skill and sincerity.

Altogether, Evergreen is a masterfully executed maturation that launches Gunnulfsen forward into fresh, fearless territory.

Even amid the emerging identities of its two star players, it hangs together as a delightfully cohesive volume. It's the sound of old friends playing guitar and singing together in a good room, a vibe that never gets old.

Georgas' conscious attempts here to be more candid in her songwriting pay off on a no-filler label debut for Lucy Rose's Real Kind Records that stands as her best to this point in her career.

Maybe Hackman just needed a little break before delivering her most compelling album to date.

If you appreciate Metheny's acoustic guitar recordings, MoonDial will undoubtedly delight, and its elegance folds seamlessly into its predecessors'.

Devil Rides In is lovingly curated and offers surprises even for listeners who think they know the era's music well.

It’s been said that one can’t go back home again, but as the return of the Loft and this excellent debut album prove, sometimes a trip back to an adjacent neighborhood can be nearly as fulfilling.

Arctic Moon is a solid comeback from a group whose sound is so influential that it feels like they never left.

He delivers a modern jazz recording constructed from sounds, strategies, and sonorities collected across his decades-long career and uses them to create something bracingly different.

Throughout, Spíra's soft, intricate arrangements, earnest vocals, and frequent minor modes give it a quality that's exquisite and haunting at once, making it an excellent entry point to an artist due for rediscovery.

House on Fire is Billy Childish's show, the latest volume in a long and utterly uncompromised run, and it's the work of a man whose art still matters and never gets stale. He means all of this, every word, silly or vengeful, and we should be glad he sees no reason to stop.

It's thoughtful and fun and sophisticated, utterly alluring, another fantastic success by Zach Condon.

If Dylan learned anything from Sinatra, it's how to drill to the core of the song. Dylan does just that on Triplicate, finding the heart beating within some old warhorses and placing them within several great American musical traditions, and that's why this cements his place as one of the most distinctive interpreters of the Great American Songbook.

While the trademark sound is still much in force, group mastermind RZA jettisoned the elaborate beat symphonies and carefully placed strings of Forever in favor of tight productions with little more than scarred soul samples and tight, tough beats. The back-to-basics approach works well, not only because it rightly puts the focus back on the best cadre of rappers in the world of hip-hop, but also because RZA's immense trackmaster talents can't help but shine through anyway.

Live from the Underground winds up both an easy introduction to the man's talents and a crowd-pleasing effort with no stale sell-out aftertaste.

Entertainment and enrichment are provided unsparingly.

With Rest, she grows more fearless as an artist while facing her losses, and the future, with courage and love.

It's a faithful version that humbly spotlights the versatility of a fascinating talent.

To the duo's credit, Matmos avoids making A Chance to Cut Is a Chance to Cure grisly or gross; Andrew Daniel and Martin Schmidt approach the album's concept with their usual playfulness and an appropriately clinical detachment, resulting in some clever and surprisingly diverse songs

Compulsive in more than one sense, Big Black Coat contends with Last Exit as Junior Boys' deepest, most vibrant work.

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

The album isn't an album of a moments, it's a collection that sustains a mood. A mood that's ragged and slack, but too dulled to charm.

Those looking to rock out won't find many headbanging opportunities here, but Nothing Is Wrong works well as driving music, particularly if the scenery outside your windshield matches the sepia-toned music.

By pushing each other out of their comfort zones, Beth and Gillespie make Utopian Ashes an unabashedly theatrical -- and consistently entertaining -- look at falling out of love.

End Times Undone is a fine addition to a long career of near brilliant indie rock.

Pink is easily the most cohesive, adventurous, and straight-ahead rocking recording of their 12-year career.

Iceage have developed a record reaching out in many directions without straining to make any points.

Ruinism is a bold reinvention of Lapalux's sound, and is undoubtedly his best work to date.

Hundreds of Days finds Lattimore gracefully adapting to her new surroundings, adding new dimensions to her sound but keeping its dreaminess and sentimentality intact.

Mnestic Pressure is a challenging but thoroughly stunning album that finds Gamble significantly pulling his vision more into focus than before.

For as good as the songs are, what's initially so absorbing about Americana is this limber musicality. What makes it last are the songs, which are wry, moving, and truthful, which wasn't always the case in his book.

Tracing the emotional arc of the album, a couple of calmer interludes lead into the crashing splendor of "If...." and the brooding shoegaze turbulence of "Is That What You Wanted to Hear?" The glacial drift of "Forget the Credits" feels like all of the previous songs' stress has been released as a balloon, and it feels fine to just lay back and free one's self of all burdens, now that it's all over.

Praise & Blame winds up an undeniably excellent album that you're either ready for or you're not.

Nothing here feels the least bit overdone. Marissa Nadler is a sensual, provocative, enticing work of vision and maturity.

Collector feels a bit uneven at times, but in the end Disq has enough attitude and smart ideas to keep things exciting.