Across the record, Lenker covers big emotions and small moments, noticing horse tails, eyelashes, and silences. The immediacy of the performances has the effect of eavesdropping on a late-night living room lament.

Instead of going big, the way he did on 2014's burly Outsiders, he's keeping things small, a decision that highlights the many savvy ways he expands American musical traditions even as he adheres to them. Perhaps these variations on themes are subtle but this confident sense of sonic adventure when combined with Church's expert craft results in a satisfying album.

Without losing any of the energetic fizz of their youth, Swearin' look honestly at their lives moving forward, arriving somewhere vulnerable yet impressively more confident than before.

Electric Messiah proves that High on Fire can still blow the unholy horn of plenty, and while fans will know just what to expect when dropping the stylus, that knowledge takes nothing away from the Epicurean pleasure of sidling up to a favorite feast.

The Window remains an intensely intimate listen, as if Salvant and Fortner are playing just for you.

This return to the Amory Wars concept is welcome. Even the few seemingly out of place moments are deliberate diversions to reward longtime fans. That said, in an era of renewed appreciation for prog metal in general, this offering should draw legions of new listeners.

As with any of Ashworth's albums, this is an excellent set of poignant narratives that speak directly to human emotions without romanticizing anything.

A confounder rather than a crowd-pleaser, Fabriclive 100 is nevertheless a highly thought-provoking glimpse into the minds of two brave individuals who think very differently than anyone else.

For what it's worth, buried beneath the posturing and obnoxiousness lies a glimmer of promise. However, Bhad Bhabie requires some polishing and maturity if she's ever going to grow beyond a mere novelty.

Continuing in the direction of Fred Thomas' previous two albums, the equally outstanding All Are Saved and Changer, Aftering is filled with vivid descriptions of particular moments from throughout the prolific songwriter's life, as well as more general encapsulations of the bleak, uncertain feelings clouding the landscape of late-2010s America.

This box winds up as a fitting tribute to a rocker whose touch was so casual, he could be easy to take for granted, but when his work is looked at as a whole, he seems like a giant.

Although there's nothing groundbreaking on this album, Young Romance is warm and pleasant from start to finish, ideal for sun-kissed afternoons and carefree nights.

Undeniably dark and haunting, Burn Slow succeeds in taking the listener far from the beaten path while living up to Liebing's artistic standards.

The songs are strong but the reason to listen to Bad Mouthin' is the performance, how White maintains his thick, heavy mood from beginning to end, always sounding compelling through the familiar changes.

That AAARTH feels cathartic comes as no surprise, as the trio have long been purveyors of both aural and emotional heft, but this time around they've managed to crystallize both aesthetics into something truly sublime, fulfilling the promise set forth on 2011's The Big Roar.

At once more deliberate and more liberated than their debut, with Obey Exploded View challenge their listeners to be as free as as their music sounds.

This is hardly the last word on Joe Strummer's music outside the Clash, but Joe Strummer 001 should convince any doubters that the man never stopped being a talent to be reckoned with, regardless of the size of his audience.

Come for the rage on Digital Garbage and stay for the rock. Both feel intense and purifying.

While For My Crimes contains her unmistakable signature in both songwriting and sound, as a whole it point to an open door for new possibilities to emerge in the future. It's sophisticated and emotionally arresting, it's among the finest offerings in her catalog.

It's just enough of an update to feel fresh, yet familiar enough to be nothing but a dose of glitzy, cheerful nostalgia.

Ultimately, superfans might be polarized by the experimental musings of Elephants on Acid, but those with some distance will find this curiously assembled collection pleasantly puzzling in its layers of trippy appeal. Something this unexpected from such an established act can't help but feel refreshing.

Konoyo takes several listens to fully appreciate, as do most Hecker releases, but it's another excellent example of the distinct mixture of bleakness and majesty which he excels at creating.

The trio is often content to hover, swirl, and dissolve without resolution, saving only the last quarter of the 12-minute title cut for a truly needling rhythm and Wyllie's primal squeal.

The perpetually unraveling nature of Infinite Moment results in a perfectly paced listening experience that's almost impossible not to get lost in.

The ones that stand out, like "Slow Wake Up Sunday Morning," "Rang Tang Ring Toon," and "Baby Where You Are," usually have some softly strummed acoustic guitar in the background, but even with accompaniment Magic Ship feels ephemeral. That said, it's understated vibe can be transfixing, and its intimacy disarming.

The Wake signals a new chapter for Voivod; they stand (again) at the blade edge of creative imagination and visionary execution in the world of extreme music.

Claustrophobic yet adrenalized, Another Life is a goth-rave nightmare transmitted from an apocalyptic future.

Autobiography is unquestionably a vast step forward for Jlin, further confirming her status as a visionary artist. If it wasn't obvious already, following her long, illustrious career will be tremendously exciting.

Quiet River of Dust feels like its own celestial event, emitting frequencies both familiar and alien; Eastern philosophy-tinged pagan space folk devoted to gods both old and new.

Sometimes the sounds feel a little too alien to decode, but when production spirals out of control for a moment, part of the appeal of 1 Time Mirage is listening to the production team reign their wild creations back in.

The result is a bracing expression of visceral emotions that refuses to go the easiest, most comforting route, as well as the most focused Sumac album yet.

Simply put, (After) is another brave and beautiful document tracing how Elverum's sorrow and love continue to change shape.

Altogether, The Hex is a complicated record of a period fraught with loss and psychic struggle for Swift, and its beautiful, twisted lyricism and memorably stylized sound rise to the occasion.

The songs are definitely there, Phillipps' wonderfully light vocals are as strong as ever, and the sound is a perfect example of how to make a record that sounds as big as a stadium while still being driven by real emotion.

MITH is the most powerful album yet from a truly inspirational artist who deserves to be acknowledged as a national treasure.

As a whole, there is plenty of growth, craft, and quality songwriting here even if the approach is more polite than it used to be.

Metric synthesize the stadium rock of Fantasies, the moody hookiness of Pagans in Vegas, and the new wave spunkiness of their early albums into something that's recognizably their own, instantly memorable and one of their best overall albums yet.

This is the sound of a working band locking in on their groove.

As fine as Didn't It Rain was, This Too Shall Light better illustrates the diversity and power of Helm's abundant talent.

Some of the band's most entertaining and most challenging music, >>>'s eclectic experiments prove that the greater-than symbol at the end of Beak>'s name isn't just for show--they keep pushing forward, and it's thrilling to go along on the ride with them.

The Art of Pretending to Swim is a strong example of how one man with an unlimited number of tracks to fill can create a compelling and revealing collection of songs. If this doesn't always sound like what one would expect from Villagers, its emotional impact shows that it's clearly O'Brien's work.

A triumph, Chris reaffirms just how masterfully she engages minds, hearts, and bodies.

Unlike Summertime: Willie Nelson Sings Gershwin, Nelson's limitations aren't a hindrance, and the arrangements aren't excessively polite, which means My Way is an appealingly light record: it's performed with more affection than reverence.

This three track set is a casebook on the nature of true collaboration; everyone here places himself at the service of music made in the moment from mutally assured trust and goodwill; it sparks creation at every turn. God knows we need more albums like this. what an unexpected pleasure.

Unlike latter-day ZZ Top records, which are occasionally weighed down by the band's considerable legacy, Big Bad Blues feels light and free, an album that was made because Gibbons wanted to have some fun and that feeling is not only palpable, it's infectious.

Besides continuing a trend toward more structured and, at least relatively speaking, more subdued material, it also sees Hernandez step back as frontman for their most democratic effort yet.

Incorporating varied delivery and production, TA13OO taps into his established style, which combines aggressive trap with rapid-fire bars ("Sumo," "Super Saiyan Superman"), while also adding smoothed-out hip-hop atmosphere and patient vocal restraint ("Sirens," "Cash Maniac"), which was only hinted at on Imperial's throwback gem "Zenith." TA13OO is split into three sections--Light, Gray, and Dark--and delves into introspective self-examination and unflinching social commentary that tackles politics, sexual abuse, and mental health.

Joyce Manor may still be finding their footing in this more mainstream rock field, but there's a lot to like on Million Dollars to Kill Me, indicating that they're moving in the right direction.

The whole affair plays like the listener is eavesdropping on Prince creating, and there simply can't be a reissue more valuable than that.

Throughout, Thug injects his distinctive presence when necessary, pulling the best out of the YSL crew and serving as a tasty sampler of their individual talents.

A celebration of the duo's music, Woman Worldwide rewards fans who want to delve into its musical connections as well as those who want to get lost in its momentum.

To the Sunset isn't splashy: it's handsome and layered, alluring upon the first impression but revelatory upon revisits.

Twenty-five years after their debut, they still retain that power, while finding ways to surprise within their firmly defined style.

Double Negative is a brave and thoughtful collection of songs that lets Low's beating heart scream for its life against a world without compassion, and if it isn't much fun, in 2018 it's truly necessary.

Book of Bad Decisions is an excellent late-era entry into the band's vast catalog, a natural product of their enduring chemistry and dedication to their legion of fans.

Under the guidance of Lee's gentle melodies and calming voice, all the songs mesh together, though, only slightly shifting, like an afternoon under a late-summer sun.

America's Child doesn't simply address the tumult in 2018 America, it stands as a vital statement of purpose from a modern blues singer who is beginning to hit her stride.

Redemption resonates because it's simultaneously Bonamassa's most ambitious album and his most impassioned record.

On Dark Horses is a far more collaborative affair, and while it still looks inward, it does so with the kind of steely warmth that can only come from somebody who has seen the light at the end of the tunnel as clearly as they've seen the oncoming train.

As wacky as their previous efforts but driven by a greater purpose, Twisted Crystal finds Guerilla Toss hitting a new high.

It's a solid debut, both in terms of its songwriting and textures, with no "for an actress" qualifier warranted.

While Emanon's suite may take some getting used to, it is a profoundly imaginative work; the quartet concert offers a killer portrait a group whose M.O. is pushing at the margins until they give way to something altogether new.

Figuring out the why of Returns to Valley of Rain is probably fruitless, but if Gelb wants to move forward into the past with Giant Sand, at least he's doing so with style and swagger.

It's a great combination of sound and songs that makes good on the promise the band showed on their debut, and shows them navigating the numerous pitfalls of growing up as a band in fine fashion.

50 years on from Fairport Convention's debut LP, 13 Rivers is striking music from a musician who remains fresh, contemporary, and peerless.

All the strings and brass not only accentuate the songs, highlighting the jazzy changes of "Soul Searchers" or the light swing of "Gravity," they help frame this measured song cycle, directing attention to how Weller isn't wallowing, he's meditating upon love, loss, and hope as he enters his sixties.

While these songs offer resistance to a particular reference point, as a whole the work is transcendent. Some of Ribot's own songs are fine enough to warrant inclusion next to the classics he adapts.

With The Crossing, Escovedo had put a new and compelling spin on the oft-told tale of the American dream as seen both from a distance and up close. In his hands, this story is both timeless and as up to date as the latest news bulletin, and it connects as great music and outstanding storytelling delivered by an artist who has a unique talent for both.

Generation Rx can feel a little bit deliberate: it may be little more than half an hour but it feels a bit longer, because the tempos are moderate and the melodies studiously avoid effervescence. All the same, Generation Rx winds up showing a way forward for Good Charlotte.

Underwood is taking risks for the first time. Nearly all of them pay off. ... The result is an album as satisfying as it is surprising.

Collapse ends up being one of Aphex's stronger post-2000 releases.

For Ever's complex blend of bare emotions and gorgeous production makes it a huge step forward for Jungle. A band this successful could have left their private lives uninvestigated and turned in something more guarded and rote, but the palpable honesty of these songs is what makes them soar.

Monsters Exist retains several hallmarks of the classic Orbital sound, but it isn't an album for '90s rave nostalgia purists pining for another "Belfast" or "Halcyon." Instead, it continues their tradition of making forward-thinking albums which reflect the present but glance excitedly, cautiously, and fearlessly into the future.

Kravitz knows how to sculpt not just sounds but a cohesive LP, and that kind of pro assurance when combined with his earnest hippie beliefs, make Raise Vibration a sunny, affirming listen.

The thing that Kurstin brings to the table is a refinement, letting Paul's ideas shine incandescently while also revealing that a record this clever isn't tossed off, it's crafted in every respect.

The album's glitchy title track is sparse yet acutely detailed, and sinister without seeming too evil-minded. Like the rest of the album, it seems curious about the dark side rather than fully possessed.

A relentless return to form, This Behavior finds Adult. at their most forceful and consistent as they enter their third decade.

The Bones do let loose on songs like the disco jam "Got It Bad" and "LivWithOutU," a grooving, straightforward love song. Taken as a whole, though, Young Sick Camellia feels almost like a concept album, one framed by and rooted in a confrontational contemporary reality.

Unrelentingly harsh and moving deliberately away from previously charted territory, Head Cage might disappoint fans looking for a rehash of former styles and statements, but those excited by Pig Destroyer's journey through new forms of despair and hostility will enjoy hearing their hybrid sound continue to mutate.

A clutch of unapologetically hedonistic singles in 2017 kept the Bomptown rapper visible and also pointed toward the approach taken with his third proper album.

Overall, Joy as an Act of Resistance manages to plumb new depths for Idles -- that they've achieved another record in such a short space of time is admirable, let alone one that shines head and shoulders over the majority of their peers -- and it certainly upholds their status as one of the U.K.'s most exciting new acts.

Menace Beach have shown a lot of creative growth in their relatively short existence, constantly homing in on their essential elements and discarding the rest with each new release.

Sometimes it's hard to tell if Love, Loss, and Auto-Tune is meant to be some sort of parody of current R&B production techniques, or a conscious effort to upturn Swamp Dogg's music and send it someplace no one would expect to find it. Either way, it's obvious that Swamp Dogg still knows how to write a song, and even at the age of 76, he's still vital, passionate, and eager to throw a curveball at the expectations of anyone and everyone. Talk about Total Destruction to Your Mind.

The overall effect is warm, unsettling, and artful, but most of all catchy, up to and including the intimate closer, "Moon Like Sour Candy," which ends with a mandate to try.

Deaths is a seriously fiery album that pushes the temperature right to the point of flammability and further cements the band's place as one of the best noise bands of their era.

Lacking the intensity of her main catalog, Great Thunder plays out more like an addendum that an essential Waxahatchee recording, but the songs are still worth discovery.

Everything on In the Blue Light is deliberate, gentle, and subtle, placing as much emphasis on the words and melody as the instrumentation, which isn't necessarily the case with the dense original albums.

As sheer performance, Eminem's vocals remain a thing of wonder, which is why it's so dispiriting to hear him circling the drain, relying on old tricks instead of expanding his worldview. He has the musical skills to mature; he's just refusing to let himself act his age.

Bodied is a few tracks longer than necessary, but its best moments are bewildering, and display Ital Tek's continued evolution as a sound designer.

It's a challenging album, especially at close to an hour in length. Its one that holds its share of fascination, however, with its alternately biting and poetic lyrics, persistent ache, and unpredictable patterns that are still discernable if often transient.

It's a powerful chapter in Bachmann's expansive discography, and while it might require a closer listen than some of his earlier material, the rewards are as fulfilling and slow burning as the songs themselves.

A major step up from their earlier material, Kingdoms in Colour is where Maribou State truly come into their own.

In full, And Nothing Hurt stands alongside the very best outings on the Spiritualized shelf. Its finest moments are consequently its most tender, revealing how much Pierce has grown as a writer. If he continues to record, this will be the album that opens a vibrant new chapter in the saga of Spiritualized.

No previous knowledge of his catalog is necessary to get happily lost in the blissful layers of 2012/2017.

While SOPHIE's music has never been simple, Oil of Every Pearl's Un-Insides' complexities and transformations make it a remarkable debut album that reveals more with each listen.

With Animals is the work of two men with great talent embracing what they do best, and with their skills elevating their work to a new level; this is collaboration between musical peers at its best.

Remain in Light comes bursting out of the gates in a rollicking, irresistible wave of musical joy that only stops when the album is over, leaving the listener in a state of blessed disbelief.

All in all, Mass Gothic have made an album of serviceable, if not shinning, indie pop. That said, it is a step forward from their debut and an overall solid effort from which it's possible to glean some truly compelling moments.