Gulp show that they aren't just masters of cheerful avant pop; they can do other things at a high skill level, too. It makes for a well-balanced listening experience that fans of Broadcast or any of the other bands mentioned above would certainly find right up their alley.

Even the hazier songs have a melodic and harmonic allure, though, a trait that bodes well for any band. With ten tracks coming in at under 25 minutes, Bell House almost goes by too fast for its richness, like sample-sized bakery treats that deserve a full course.

Tracks like "Lost in Translation" and "Like a Battery" have a real old-school, balls-to-the-wall "rawk" sound which at times feels a bit simplistic, but is still a lot of fun. It sounds as if the band have outgrown the need to prove themselves with overt technicality and are happy to just enjoy rocking out.

With his laid-back charm, wit, and earthy sincerity, Baxter has shown his acumen for quality songcraft before, but on Wide Awake, he ties it up in one wholly engaging package.

For fans of this particular era, ShadowParty's debut offers welcome satisfaction, breathing new life into the familiar with fresh ideas and a freedom unhindered by the burden of the beloved acts from which they originated.

Call the Comet is more accomplished than compelling, but there is pleasure in hearing how all the parts fit together so tidily.

A prevailing quantity of the tracks is either forgettable or regrettable. Nas often sounds unenthused.

Instead of a magnum opus from an artist reaching the next level of his craft, or even a serviceable new album, Rolling Papers 2 feels like an awkward mixtape (or two) without much to say and too stoned to realize it's been rambling.

Among the Ghosts demonstrates how smart and versatile these guys can be; it's a brave and satisfying set that finds beauty and meaning in the valleys on the human experience.

Someday Everything Will Be Fine is an object lesson in how maturity and progress don't have to be the enemies of snarky, passionate rock & roll, and this is music that satisfies on several levels at once.

Despite his busy release schedule, Jim Lauderdale seems incapable of making an album that isn't heartfelt, well crafted, and thoroughly engaging, and Time Flies is further proof that he's making some of the best country music in the 2010s.

Swimming is ample evidence that Miller can pick up the pieces and continue evolving, his grasp on thoughtful, introspective hip-hop getting stronger by the album.

More a gentle expansion than a reformulation, The Mighty Thread should appeal to established fans and other daydreamers.

it's a record that reflects how James always swing for the fences. As such, the album can be a little exhausting for those who aren't true believers--there is plenty going on in the songs and productions but no direct way inside--but can prove to be fascinating for the dedicated sort who choose immersion over skimming.

Qualm generally shifts away from the Drexciyan melodies of Discreet Desires, but it's just as precisely focused as that album, and anyone who has enjoyed her prior recordings or Hauff's unrelenting DJ sets should enjoy this one as well.

Here, he winds up finding depth within his signature mellow good times, and the result is one of Chesney's best records: it goes down smooth yet lingers in the memory long after its gone.

With Palo Santo, Years & Years have crafted an album that pulses with that richness.

The feelings of yearning, sadness, and grief expressed through these songs aren't beholden to any genre or time period, and the album sounds fresh and poignant regardless of when its songs were written or recorded. Gate of Grief easily fulfills the promise of White Ring's earlier efforts.

Four albums in and Halestorm appear to have officially hit their stride.

Scaling back from the expansive horizons of 2015's T-Bone Burnett-produced The Phosphorescent Blues, Punch Brothers may sound intimate on 2018's All Ashore, but they haven't lost their ambition.

Phantastic Ferniture shares a certain retro spirit and thoughtfulness with Jacklin's work as a singer/songwriter, even though others are involved in the writing here, and even when it's trying not to think too much.

It may lack some of the bite of his best work with his previous project Ovens and his early solo releases, but it's nice to follow his career as he grows and experiments (gently) with new sounds and a new-ish approach, while still delivering songs that are super-hooky and flat-out nice to listen to.

A diverting if inconsequential EP filled with a lot of flippant humor and a little serious reflection.

The Morning Star is at once brave and solitary, gentle and bracing, provocative and spiritually resonant. It extends Bachman's reach, allowing him to paint the innermost dimensions of the world he perceives and cleave it open for light to flood in and illuminate it for us.

While DJ-Kicks doesn't quite have as much personality as those prior releases, particularly Time Spent Away from U, the mix proves that Seinfeld isn't interested in being pegged as a one-trick pony, and that his scope is rapidly expanding.

Family Portrait is an uncommonly original album, keeping listeners guessing while making a significant, sometimes unexpected emotional impact.

The Sciences may not be as daring and ambitious as Dopesmoker, but it finds Sleep working at the top of their game in the studio, and their resinous howl is still a weird marvel to behold. If you're looking for a king-size dose of heavy, The Sciences is what you need.

It's also a sonic master class in marital counseling and commitment, wherein Beyoncé emerges with the upper hand and a contrite Jay is lucky she's so gracious. Vocally, it's a similar story: Beyoncé shines here, balancing light rap verses ("Apeshit" and "Nice") with some of the prettiest vocals she's recorded in years ("Friends"), while Jay offers his standard braggadocious bars that nonetheless make an impact for their occasional honesty and humility.

The record is a little shaky, but it's to the band's benefit that they retain a desire to not be so serious. At those moments, the Vaccines deliver some rock & roll spark.

Powell tends to overwhelm on the suite of Ziggy Stardust numbers, painting everything with swathes of synths--but the performance is invigorating even with its flaws.

Winslow-King's accompanists on Blue Mesa deliver strong work that complements the songs beautifully, especially guitarist Roberto Luti, keyboard man Mike Lynch, and drummer Chris Davis. Blue Mesa may find Luke Winslow-King going through some changes, but the result is some of his very best music to date.

Ovlov started strong with Am; with TRU they have made good on all that promise and released the kind of breathtakingly great record most bands can only dream about making.

His harmonic components (his solos, chord voicings, and overall soundscapes) are all improvised and worked out in the studio. Ultimately, what could sound like average contemporary jazz fluff, in Kiefer's hands sounds instead like the liquid dreams of jazz-funk aliens.

The best songs on Back Roads and Abandoned Motels are a lovely reminder of what the Jayhawks have been doing so well for over 30 years, and if this album might make one wonder if Gary Louris is running low on songwriting ideas, he still leads a band to be reckoned with.

In hindsight, it's possible to hear some of the profound loneliness of Liars' next album TFCF and the disorienting washes of Hemphill's subsequent work as Nonpareils in this score, and for that reason alone, 1/1 is more than just a commissioned work--as much as any one release from this band could, it sums up their approach and points the way forward.

A welcome return, Across the Meridian reaffirms that music is a little weirder and a lot more wonderful with Pram back in it--it's as if they spent the past decade globe-trotting a world of their own and returned with these brilliant vignettes as souvenirs for their listeners.

A few judicious cuts here and there and it would have been a very strong extended play instead of an uneven album that doesn't quite reach the level the duo attained on Hair. It's still worth checking out for fans either artist though, especially if their eccentric natures are their main attraction.

Evidently remaining under no pressure to assimilate with commercial R&B or even commit to traditional song structures, the musicians whip up another mixture of loose dance grooves and languid ballads. The effect is only a shade less stimulating than that of their previous LP.

Semblance isn't Forma's most consistent album, but their approach to rhythm is more innovative here than it was on their past releases, and their continued progression remains exciting to witness.

While a bit mercurial in nature, by its overall impression, How Many Times Have You Driven By is a grooving, otherworldly standout that establishes Vu as one to watch.

Thanks to its wandering nature, Cloud Corner is the kind of album that benefits from repeat listens, unspooling, shifting, and then settling a little more with each meditative revolution.

It's heartfelt and gutsy, performed without flash but with steely spirit, feelings that elevate Blow Your Mind above many of the other records in Johnson's solo discography.

A powerful tool for repairing a broken heart and indicative of an even brighter future, Lost & Found is satisfying and promising at once.

It is a music of sense and memory perceptions, a sonic projection equal to but different from the sources that inspired it. When all are assembled, they constitute a deep, mysterious, and occasionally disruptive journey into shade, texture, nuance, and seductive persuasion.

Deeper cuts like "Voices at the Window," "Floating on Water," and the ethereal closer "You Ought to Know" deal in more abstract vistas, delivering different hues culled from the same retro spectrum, resulting in something that has more in common with the spacy, neo-psych-rock emissions of the Flaming Lips than it does crusty ethno-doom metal.

At their best, Chromeo are a big, dumb party, the embodiment of guilty pleasure much like the cheesiest moments of the '80s hits they emulate. But a few choice songs, special guests, and Chromeo's studied arsenal of '80s signifiers can't keep Head Over Heels from growing tiresome, absent the hooks required to keep the party going.

Like Rae Sremmurd and Migos, these big-bass trap anthems owe much to their club-friendly vibe, but offer little in terms of substance or lasting impact.

One might reasonably expect that a more mature edition of Belly would seem less fiery than what they delivered back in the day, and the craft of this album is all one could hope for, but there's a bit too much drift and not enough clear focus for Dove to qualify as a true return to form.

Tim Wheeler--who produced the record on his own--is as much a craftsman as a songwriter, hammering out melodies and riffs, and his resulting tunes aren't fashionable, but they are sturdy.

While Middle Kids showed plenty of promise on their 2017 debut EP, Lost Friends is where they show they can make a proper album and actually improve on their bag of musical tricks, and it's a strong and engaging work.

Their Prime is an impressive debut from a group that has already gone a long way toward moving past their influences, and Jo Passed is clearly a band to watch.

One of the best aspects of The Return is how balanced the songs feel, weaving in bits of modern electronic dance and hip-hop flourishes as on the stuttering, breakbeat-infused "Catch the Loop," and the equally kinetic "Broken Theme." While The Return implies, and often delivers on, Williams' clear desire to recapture the plasmic spirit of vintage '70s jazz-funk, the album is less of a return to past traditions and more of a rebirth.

That Tanukichan have come up with an album that sounds original and true while bringing deep emotions along for the ride is truly something worth commending.

Blueprint confirms that album's excellence was no fluke, and as she approaches 60 years of age, Alice Bag is one of the most exciting and compelling new artists currently making music. Let's hope she has another album this good in her to make this a hat trick.

Another exhilarating triumph from one of the most original underground electronic artists.

K.O. is their most successful collaboration so far, and a flat-out thriller above all else.

Automata II can be listened to on its own, but it holds much greater power when taken together with its predecessor. It is easily the more musically adventurous of the two recordings, making it an indispensable part of Between the Buried and Me's provocative catalog.

Expressing grief, angst, and uncertainty just as loudly with a croon as a scream is no easy task, but Death Lust archives it masterfully.

Scorpion doesn't even come close to being one of his best; instead, it's a one-trick record stretched out into 25 endless tracks by an artist who's so deep into the self-obsessed, self-pitying rut he created for himself that he can't see daylight anymore.

All That Reckoning is a smart, compelling set of songs from a group that hasn't run out of things to say or the ability to say them with eloquence.

While HAIM, Amber Mark, Syd (of the Internet), Robin Pecknold (of Fleet Foxes) and Empress Of all contribute their talents to these songs, this is very much David Longstreth's music, and it's heartfelt, passionate, and beguiling in the tradition of Dirty Projectors' best work.

Ordinary Corrupt Human Love isn't going to change detractors' minds about Deafheaven. Instead, with its searing depictions of emotional and spiritual struggle in a relentlessly ambitious musical presentation, it should attract a new legion of listeners as well as deliver assurance and solace to those who found their earlier records so compelling.

Ultimately, the album's message is one of fearlessness and self-empowerment, and it's the most inspiring work Lotic has crafted.

Employing a handful of tasteful collaborators, including J Mascis, Dirty Three drummer Jim White, and the National's Aaron Dessner, who co-produced Passerby, Randall and Hassett have made a record that boldly turns a corner while still slotting neatly into their already sterling catalog.

The Switch serves as a potent reminder that experimental music isn't always cerebral. Transfixing, haunting, and lingering, this is some of Body/Head's most emotionally eloquent music.

Voids is yet another taut and lavishly detailed, yet never congested, set of productions that hybridize U.K. garage, dubstep, drum'n'bass, house, and techno, with an emphasis on the rhythmic friction of the first two styles.

While not as spontaneous or weird as some of Torske's other efforts, Byen is unmistakably well-crafted, and works on the dancefloor as well as a soundtrack for zoning out.

Adam Landry, who produced and engineered the project as well as playing guitar, bass, keyboards, and drums, has done a splendid job helping Morris realize this cycle of songs, and while one might hope Morris feels better the next time he decides to make a record, Dude, the Obscure shows that he gained something worthwhile during his journey through difficult times.

Not one of their releases is the same as another, and with Year of the Snitch, they continue to break boundaries and expectations. The record is another example of true experimentation with their sound along with an uncompromising work ethic and a thirst for originality.

As part of the Bees, Fletcher and Parkin helped make a lot of really good songs and albums. On their own, they went right ahead and topped their old band's catalog on their very first try.

RP Boo's style is a mix of experimentation and hard-fought confidence, and releases like I'll Tell You What! prove that the inventor of footwork is still several steps ahead of everyone else.

Bodega aren't doing anything new or unusual, as the easy-to-grasp reference points make clear, but they make it all sound factory-fresh and super-fun--and because of those two factors, fans of any of the bands mentioned above will likely find Endless Scroll quite worth checking out.

The Nude Party does everything right in capturing a certain irreverent spirit here, including emphatic vocals and catchy songs about not only war, but astral planes, record shops, and ignoring advice to get a real job.

Once again, Self Defense Family have created a work that reveals itself entirely on its own terms, and though Have You Considered Punk Music is often evasive, it still manages to draw in the listener, and it's an experience that's well worth your time.

This band is still crazy after all these years, and on Sixth House, they make their special madness signify, and it's a genuine achievement.

While it may not be any easier to make one's way through the distortion that James references, it is somehow easier to bear because of the empathy, joy, and contradiction in these songs.

Straightforward and relatably human, High as Hope may not be the rousing version of Welch from previous albums, but as a document of her personal growth, it's an endearing and heartfelt study of truth and self-reflection.

The record is good enough, and the band skilled enough, that even one year without a new album from them would feel like an eternity.

Davies still possesses a sharp eye and sly sense of humor, so Our Country has its moments, but they're moments, not songs, and they're overwhelmed by his clumsy dramatic pretensions, which are undone by his reluctance to tie his theatricality into an actual narrative.

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.

Both Directions at Once is truly a rare thing: an important discovery from the vault that's also a blast to hear.

Although nothing here may eclipse the original Appetite for Destruction, everything added to this deluxe edition enhances the album, offering proof of Guns N' Roses's immense skill while also illustrating how the band captured lighting in a bottle on their debut.

Their stylistic shifts never feel contrived, especially when the results are as stunning as "Cool & Collected."

Perhaps this doesn't make for a listen that's as wild or adventurous as its companion, but it's ultimately more satisfying, as the internal journey mirrors the evolution of the pop landscape in the 21st century. What was once a rowdy, colorful party is now a soundtrack for bittersweet solitude.

Wet Will Always Dry is yet more proof that he's one of the decade's greatest techno producers. Undoubtedly one of the best techno albums of 2018.

Free for All is a fascinating, innovative record that provides a fresh perspective on trap and other contemporary hip-hop styles.

Rather than chasing trends or aiming for reinvention, the Innocence Mission seem content at this point in their career to carry on doing what they do best and expand on their trademark sound with another fine release.

Across the album's 12 yearning songs, the performances not only breathe but seem to sigh in concert with the main duo, arriving at what is much more an expansion of their trademark sound than a renouncement of it.

That's a lot of songs about life and death, but The Blues Is Alive and Well has a lot of songs in general--a full 15, lasting well over an hour. This excessive length means there's a lot of room for levity, too.

None of these more pointedly thought-provoking [spoken word] additions detract from the overall flow of the album, and instead add to the overarching vibe of open-minded creativity, love, and empowerment.

As dark as Goldsmith gets on Passwords, he remains hopeful, even romantic, summoning images of Romeo and Juliet and "Cusack holding that stereo" on the tender love song "Never Gonna Say Goodbye." It's that bittersweet message of hope for humanity on Passwords that resonates the strongest.

Admittedly, his embrace of slick pop aesthetics, Rat Pack swagger, and cheeky turns of phrase can be a bit much on first listen. But that being said, when it's backed with a strong hook and just a modicum of earnest emotion, as on the sanguine club jam "Hey Look Ma, I Made It," it's hard to deny.

The rebooted Immersion sounds far more engaging than the project's original incarnation, which had a tendency to meander, and Sleepless is certainly one of its best efforts.

Rhys' words may be filled with dread but his music offers solace in its deftly executed songcraft and reassuring soft focus, which means Babelsberg can soothe the very emotions it stirs up.

While some of his eccentricities can seem affected. Perhaps these stumbles are the side effect of an artist dedicated to capturing all the mess of the modern world, and even if there are moments that grate or confound, there's still something invigorating about an artist who refuses to sit still.

Some of the band's finest music yet, to say that Kazuashita was worth the wait is an understatement; it's a timely, necessary expression of hope that also feels like a union of the new and the eternal.

While the album could benefit from some tightening-- the middle stretch stalls the momentum--Expectations affirms Rexha's songwriting prowess, ear for catchy hooks, and ability to pull emotion from otherwise serviceable radio pop.

There's a palpable sweetness to music that endures, even when a production is as bright and glistening as it is on Shawn Mendes. That bodes well for the future that Shawn Mendes is so evidently planning for.