Sure, the set meanders a bit too far into the woods here and there, but overall, Elizabethan Times is a winner from two great minds of U.K. pop.

Covered in a shiny electronic gloss, the album flits between slow-burners and mellow pop.

For all the conflict imagery, War & Leisure is often brightly colored, even upbeat.

The future will not be too kind if subsequent efforts continue to climb the stairway to heaven, but there are worse ways to get your Led out. Ramble on, gents.

Small Town is an excellent showcase for this duo; here's hoping it's only a first volley.

Despite its more collaborative origins, Thanks for Listening plays like a singer/songwriter album from Thile, one with moments of humor, poignancy, dread, and playfulness. Particularly "for anyone trying to hear through the din of a boorish year," it captures the Zeitgeist of the first half of 2017 with a very human touch.

What's most important is that nearly everything here is brilliant. Highly recommended for anyone with the urge to plunge deeper into the Fall's tremendous body of work.

Laila's Wisdom is Evans' lyrically broadest and musically richest work, yet it doesn't have the sprawling quality of the first album.

Overall, The Animal Spirits feels very organic, brought about by the spontaneity of the performances, the brief window of time in which it was recorded, and Holden's own evolutionary arc. It also offers a glimpse into the deeper corners of his psyche, peeling back another layer to reveal just how colorful his imagination can be.

It's the razor-sharp precision of his words that allows for effective interlocking with the rest of the band, so much so that they seem to move through each song as a combined force of nature, matching tight yet crunchy instruments to the poignancy of every syllable.

The kind of musically rich and emotionally powerful debut that feels timeless and stands far enough apart from the rest of the music scene surrounding it that it feels like a cleansing blast of fresh air.

The journey to dive into commitment that Dreijer takes her listeners on with Plunge boasts more moods and colors than Fever Ray's debut, or any single Knife album; ultimately, it's some of her most powerful work with yet.

With We All Want the Same Things, Finn has crafted some of the strongest and most moving music of his career, and if his tales aren't often upbeat, they have the ring of truth and will stay in your memory long after the album is over.

The Way Is Read's sequencing, which mixes songs and connective tissue, sometimes within and across tracks, has the effect of an album-length work, if one with distinct tunes. Perhaps its biggest achievement is that it so often seems the work of a single group of nine.

Lackluster as music and downright puzzling as a cultural artifact, Unleash the Love confirms that whatever you think of Mike Love's 21st century edition of the Beach Boys, he's better off doing that than trying to make music by himself.

Rot is the kind of album only a band with a full grasp of rock & roll history could have made--no doubt they've worn out a copy or two of Radios Appear in their time--and it should appeal to anyone who likes their punk scrappy as can be with a bunch of wiry pop mixed in, too.

Overall, this is a strong debut with heart, style, and some nice hooks.

Ultimately, Tribute to 2 is uneven and fuzzy. When it works, it's lovely; when it doesn't, it's a head-scratcher. This is for fans only.

Like Ryuichi Sakamoto's async, Finding Shore seems to find magic in everyday objects and scenes.

Front-loaded with a trio of deceptively powerful singles ("Smoke Signals," "Motion Sickness," and "Funeral"), the ten-track set loses some focus near the end, but Bridgers remains such a compelling presence throughout, that even her less immediate material bears weight.

Although Uzi's post-breakup pain rears its head throughout the entirety of the album, many of the tracks are too fun to get too bogged down in emotions.

A thrumming version of "Afro Blue" excepted, Lilies is a set of originals--one that's enticing and breathtaking in an unconventional, as in almost stifling, sense.

All of this is familiar, so what counts on Prince of Tears is execution, and from top to bottom, it's one of his strongest albums, benefitting from his assurance and lack of nonsense.

As a debut, it has enough standout moments to pique interest in a future when Smith could stand toe to toe with his many inspirations.

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

Permo is a fine work by a band finding its feet; a rousing rumble through the wilds of Scottish pop; and the kind of record lovers of knotty guitars, deadpan (but deep) emotions, and undersold (but undeniably lasting) melodies should recognize and embrace like an old friend in new clothing.

Kweli persists as one of the most inspired storytellers, wasting no syllables as he condenses and elucidates complex non-fiction.

With The Architect, Faith has constructed an album of empowered, mainstream pop that retains all of the complexity, artfulness, and raw emotion of her previous work.

Post Self is more moody than direct, and isn't the most hard-hitting, immediate album in the Godflesh catalog, but for anyone who equally appreciates Broadrick's metal and electronic sides, the album is as stunning as one would expect.

Neil is making music for the moment and he doesn't much care if it lasts beyond that day or not, and while living in the moment is a good way to get through life, it doesn't do much for albums.

It's a collection of moments, just like From a Room, Vol. 1, but that's the charm of From a Room, Vol. 2. Stapleton isn't crafting a major statement; he's knocking out a bunch of songs that work on their own terms--and when the two records are combined, it's clear he's the lifer he intends to be.

A bigger soundstage doesn't necessarily suit the BBC sessions, where the primitive production suits the raw performances--for proof, listen to the second disc in the deluxe set, which wasn't de-mixed--but it's ultimately a minor flaw in what's otherwise an essential set.

Retro-conning the existing Songs of Experience material to suit the political climate wasn't the easiest task and the album often shows its seams, particularly when Bono decides to tackle the crisis head-on.

Versatile certainly has its flaws and will likely appeal mostly to longtime fans, but Morrison invests himself in each tune, singing as if he wrote them. This is head and shoulders above similar efforts by his peers.

The soft rock/cosmic country angle of In an Open Field is another chapter that further cements his mastery as a singer, composer, and producer.

This kind of proudly theatrical arrangement would suit Amy Lee well for years, and that's why Synthesis doesn't feel like a holding pattern: It feels like the start of a new chapter.

While the B-52's belatedly embraced electronics on 2008's Funplex, Change finds Wilson doing the same, but from a decidedly different vantage point, and it fits her beautifully; it's a successful musical reinvention that presents her talent in a whole new light.

Utopia isn't quite as idyllic as its title implies, but its mix of idealism and realism makes it an even greater success as a manifesto for radically open love and as a document of thriving after loss.

Compared to the debut, this has a little more definition.

Dark Eyed Messenger is easily the songwriter's most intimate and sparsely decorated album thanks to assistance from Doveman. Their pairing amounts to a nearly alchemical wonder that gives us one of the songwriter's best offerings.

Ultimately, listeners who can embrace the idiosyncrasies of Rothman's voice and the throwback production (don't miss the Kristin Kontrol track, "Jordan," for that niche Casio-and-saxophone sound) will find an intriguing if hit-and-miss set of underlying songs with strokes of classic Brill Building and sophisti-pop.

Not all of his juxtapositions or segues seem to make sense, and the album seems a bit overstuffed, but Jonti's ambition and creativity are undeniably admirable, and the entire album is a delightfully strange trip.

The tracks feel more like musical poems than songs. Poetic lyrics that refer to ogres, unicorns, and ghosts only reinforce this impression. Taken together, the album may challenge even some indie-tuned ears, but at its best, its catchy, composed strangeness is refreshing and compelling.

The Greatest Gift works best as a companion piece to Carrie & Lowell, a variation that offers a different spin on its themes, but it's also a powerful and absorbing work in its own right, and fans of Stevens' work will appreciate it.

Over the course of the album, Sia tries to cover all the moods of the season: "Ho Ho Ho" gets into the Christmas spirit with gin, bourbon, and loopy cartoon sound effects; "Puppies Are Forever" could be from a children's holiday album; and "Sunshine" finds Sia helping a sad friend with heroic doses of Christmas cheer. However, some of the album's best moments tone down the merriment.

Noel knows how to construct a sturdy song and Holmes knows how to dress them up in flashy clothes, and the combination results in Gallagher's best album since splitting up Oasis.

The Wasted Years is a fine collection of works by an overlooked and sometimes underestimated band.

Murderburgers shows that King Khan is growing as a songwriter and a vocalist, and he's a great collaborator, as he and the Gris Gris bring out the best in one another in the studio; hopefully the next bunch of friends he works with will work as hard and as well for him.

Bajas Fresh is a masterful union of the group's jazz, Krautrock, and new age inspirations, and another rewarding chapter in their saga.

Nearly 30 years after the group called it a day, the material on U-Men barely seems to have aged at all; like the best rock & roll outliers, the U-Men created something that was less a product of a specific time and place than music that existed in a world of its own, and that planet is still a wild, fractured, and thoroughly compelling place to visit in the 21st century.

Langford's songs reflect his fascination with the culture and legacy of the American South, for better and for worse, and if his Welsh-accented voice sometimes seems to run counter to the music, Bethany Thomas and Tawny Newsome are both marvelous, putting their own spin on this music while honoring the traditions of Muscle Shoals soul.

Richly textured yet spacious and meditative, L'Orange, L'Orange is some of Kowalsky's most rewarding work yet.

Utterly unpredictable and thoroughly devastating, this album slays from start to finish, and upholds both acts' reputations as groundbreaking artists.

The lyrics sometimes reflect Tweedy's usual tropes as a writer, but Staples gives them a musical and emotional force that sets them apart. Her voice is in splendid shape for a septuagenarian, still supple and able to navigate the twists of the melodies while sailing confidently over the arrangements that fuse indie rock with the feel of '70s soul. ... Quite simply, this is an album America needs.

Soul of a Woman is a rich, life-affirming work from an artist who valued her life and her music too much to not make the most of them up to the very end. This isn't just a fitting farewell to Sharon Jones; it's one of the best albums of her career.

Despite its evocation of many source inspirations all applied in unusual ways, Out Her Space is pure Blau. He never lets his ambitious charts get in the way of his melodies, ample spaciousness, and warm multivalent textures. Add to this excellent core songwriting and inspired playing from all involved, and this date follows Introducing Karl Blau like a falling domino. All killer, no filler.

This album is a trippy, spooky delight.

Low in High School can seem as aurally conflicted as it is politically, and that may be an appropriate look for Morrissey in 2017: He's opted for a mad world of his own creation and doesn't much care whether his fans follow or not.

Upon repeated plays, these lyrics fade, as does the monochromatic production, and what's left is a coming of age album anchored by some strong Swift songs, most of which are bunched at the end of the record.

In a world that's turning upside down on a regular basis, the topical EP may be just the right format for Billy Bragg's socially conscious side, and Bridges Not Walls is smart, insightful music from a man who's made such things his business for nearly 35 years.

Even for longtime fans, Savage Young Dü is revelatory, charting a young band's progress as it achieved its potential for greatness.

If Introduction to Escape-Ism lacks the punch of some of his band projects, this he is as purely himself as you could hope for, and hearing him work his songs over his own thrift store soundscapes is an engaging experience.

Value is bleak, uncertain, and disconcerting, and even fans of Safe might find it a bit hard to connect with, but Visionist has a talent for reaching deep within and channeling existential crisis, and the album is another success. No one said this would be easy.

Wizard Bloody Wizard doesn't break any new ground for this band, but innovation has never been what these folks are about. Instead, their albums are offerings to the gods of the blacklight poster and the bong, and on that level, Electric Wizard appear to have made their masters very happy indeed.

Additional songwriters and producers, including but not limited to Timbaland, Stargate, Emile Haynie, and Malay, contribute to one or two songs each, but this album maintains a consistency and intensity that places it slightly above the debut.

It's definitely the warmest-sounding Corrs outing to date, and the austere studio setup lends itself to the band's penchant for pairing pop acumen with Irish balladry, which they do with great aplomb on heartfelt cuts like "Son of Solomon," "Dear Life," and "Live Before I Die."

For their part, Sharp and Keith continue to swap guitar licks and lead vocals, uniting in loose harmony and occasionally dialing up the tempo on tracks like the Keith-led rocker "Sally Rose" and the mellow yet jaunty Sharp tune "Strange Insistence." For the most part, though, Out of Range stays in first or second gear as the panoramic landscapes pass languidly by.

While likely of interest mostly to dedicated fans due to the eclectic nature of the recordings, it may also pique the curiosity of those less familiar with Olsen's growing, distinctive catalog.

It's a solid label debut that finds its own footing apart from the Wilco connection.

Blitzen Trapper have always been at their best when the rubber meets the road, so to speak, and highway-ready anthems like "Rebel," "Stolen Hearts," "Dance with Me," and the soaring title cut don't disappoint, delivering a perfect blend of pathos and Pacific Northwest wanderlust, which incidentally is exactly what made Furr so compelling.

Every number is given a slick electronic gloss that pushes it in the direction of adult contemporary MOR. Far from being a detriment, however, that's the strength of Unapologetically: It remains vibrant and fresh even though it sounds measured and mature.

Interiors is not only a quality record in isolation, it also encourages a reappraisal of their two previous efforts and the band's wider significance. Nevertheless, it's not an exercise in rehashing old glories, either.

It's enjoyable yet familiar fare, and whether or not Ulrika Spacek bring anything new to the art rock table is certainly debatable, but with Modern English Decoration, they've definitely established themselves as reliable, and occasionally crafty, sonic spellcasters that reward a patient ear.

Taken together, for its somewhat lofty inspirations and complex construction, Onism is above all a fun listen, full of discovery, whimsy, and musicality. And it's got a good beat.

With Ross as a foil, Reznor's usual indulgences become focused and refined, making Add Violence a satisfying addition to NIN's less-essential, non-album output.

Dauwd takes more risks on this album than on his prior releases, and it ends up being his most rewarding work yet.

A lifetime away from the Long Island quartet's emo and pop-punk origins, Science Fiction is a complex and nuanced beast of introspective indie rock and detailed production.

While this LP is yet another release that is not Maxinquaye, compared to the average Tricky album, it's accessible, mostly focused, and offers a handful of moments that remind listeners of his early promise and hold attention until his next effort.

20 Years in a Montana Missile Silo's glimpses at life's unknowability are disturbing, affecting, and always fascinating--and prove that Pere Ubu are as vital as ever in the 2010s.

When artists reach a certain point in their careers, they can maintain the status quo or they can challenge themselves; Ranaldo chooses the latter on Electric Trim, imbuing his poetic cool with earnest, quixotic charm that makes this some of his most wonderfully unpredictable music yet.

Trouble No More, more than Saved or even the fine Slow Train Coming, is buoyed by the music. Whether he's singing a slight song, easing into testimony, or leaning into a blues, Dylan seems engaged, even on the verge of rapture, an excitement that carries through the full live shows from 1980 and 1981 on the Deluxe Edition.

The robust rhythm battery of Rönkkö and bassist Rasmus Stolberg really propels 1982 forward and adds a great deal to their bigger picture. An improvement on their debut, this release solidifies Liima as a band.

Peeling away the factors that obscure Griffin's talent--the vulgar hedonism, the cavalcade of predominantly superfluous guest artists--can take some effort. Beach House III is nonetheless conclusive evidence that the singer, rapper, songwriter, producer, and multi-instrumentalist is among the most skilled and creative figures in the business.

Though Ware co-wrote all the songs and is in full command from start to finish, the album has a stitched-together quality that starts to slowly unravel during the second half.

Even if Joli Mai's presentation isn't quite as dazzling, the undeniable quality of these tracks makes it a welcome companion piece for more than just completists.

Elegant from the first minute to its 70th, Ojalá is an essential album for fans of Raymonde-affiliated projects like Snowbird and This Mortal Coil, and is among his and the year-in-indie's most exquisite works.

Everything comes to a head on "Closure," an extended 11-minute smooth-funk jam that throws all the album's strict structure out the window. Its presence not only draws attention to how Maroon 5 can vamp, it also highlights the discipline behind the rest of Red Pill Blues.

Hushed yet haunting, Phantom Brickworks offers a beautiful new perspective on Bibio's music.

As it stands, New Shapes of Life is a solid record that connects quite often on an emotional level, but is far too easy to tune out and shift to the background, something that can almost never be said about any of Carr's previous work.

At this point in their story arc, Bannon, Kurt Ballou, Nate Newton, and Ben Koller really don't have anything to prove, which makes it all the more impressive that they haven't let up on trying to do just that.

The Endless Shimmering displays ASIWYFA's unrelenting optimism, and demonstrates their mastery of their singular brand of math-grunge.

It's all somehow pulled off without coming across as aesthetically erratic.

4eva Is a Mighty Long Time is a mighty long album, at 20 songs and two brief skits, but K.R.I.T. clearly has a lot to say, and he expresses it with vigor and passion on this ambitious work.

The combination of talents involved works in all of their favor, and the result is a short, snappy modern art-punk album that is a worthy addition to each act's already strong catalog.

For a band that has evolved from screamo to such thoughtful artistry, The Canyon is a stunning offering.

Meaning of Life is one of her most satisfying albums: it feels like not just a collection of good tunes, but a statement of purpose.

Beneath its glossy surface, there's not only plenty of melody, but a perverse sense of humor that keeps the record from sounding too smooth and settled.

Face Your Fear ups the ante for Harding, bumping him from promising newcomer to major artist, and if you like good songs played and sung with true conviction, you won't want to sleep on this.