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.

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.

Romantic, sophisticated, and rich with vocal prowess, Nat "King" Cole & Me lives up to both Cole and Porter's own immense creative reputations.

Even outside of the film's context, Deacon's score is fascinating, brilliantly showcasing his skill at crafting experimental yet reflective sounds.

The Lonely, The Lonesome & The Gone provides listeners an exceptionally well-rounded portrait of both the mature writer and the iconic singer.

Better then to treat World Wide Funk less like an addition to an immense discography and more like a porta-party.

Cathartic and wrecked, Turn Out the Lights is the type of album that will be uncommonly relatable to some and unbearable to others. For those who are receptive, the songwriter's ferocious authenticity connects in spite of, rather than in concert with, the more dramatic accompaniment here.

If anything, the aptly named LP feels more alive than anything the band has let loose to date, despite having successfully distilled their sound down to its very essence.

Martin and the Steep Canyon Rangers specialize in good cheer, and while that means they can sometimes overplay their hand here--"Strangest Christmas Yet" sticks out like a sore thumb, each punch line landing with a thud--their act is ingratiating and so is The Long-Awaited Album.

Throughout it all, A Flame My Love, A Frequency resonates with a healing warmth that is a testament to the remarkable purity of Colleen's music, as well as to the importance of beauty and hope when life is hard.

Working with the Australian wildmen gives Brettin's work an unpredictable nature not found on Mild High Club albums. This mutual benefaction means Sketches of Brunswick East is a collaboration that works wonders for both sides and will also make fans of both groups very happy.

With engaging basslines that act as the hooks and the glue to Maus' carefully contrived sound, Screen Memories succeeds by basking in its murky splendor.

It is highly electrifying, however, and ranks among the enigmatic, boundlessly exuberant vocalist's most joyous work.

The performances are vibrant and full of personality, heartbreak, and spirit.

It's indie pop with a purpose, full of drama and intention, great songs, and breathtaking performances that put other bands mining similar territory on notice.

With Reaching for Indigo, Fohr has done a remarkable job at translating a hard-to-define, life-changing event into powerful music.

One Directioners will no doubt relish every moment of Flicker, but for casual fans potentially wary of the boy band stigma, they can rest assured knowing that Horan has taken a big first step into musical maturity, with his own voice and deep well of emotion.

If you liked what transpired on Land of Plenty, you'll love the swirling complexity and good-time vibes of SpiderBeetleBee.

Ultimately, this is a soundtrack for an era of discovery that reflects the powerful desire of a generation striving to claim an identity of its own.

The record may be a step below his best work with the Strands and Shack, but it's not far off and the album is a wonderful slice of modern guitar pop songcraft.

Nothing is as volcanic as "Bank Head" or as rush-inducing as "Rewind"--two past gems--but these hyperballads and zero-gravity jams always stimulate, covering a broader spectrum of emotional states with deeper resonance.

HEAVN was expanded and reissued a year later by Jagjaguwar, made available on physical formats with a track list that added six interludes and a thick reprise of "Holy." The interludes, especially the one in which children recite an Assata Shakur quote--inserted as a brilliant setup for "Blk Grl Soldier"--are not extraneous.

Hurts have never shied away from grandiose musical gestures, something fans of their deeply emotive live shows and theatrical videos can attest to. With Desire, they've found a way to capture that amorous pop intensity and send it flooding back toward their audience.

The Selecter may still be best remembered for their part in the U.K. ska explosion of the early '80s, but Daylight shows they don't have to rest on past glories; they're creating a new body of work that's smart, energetic, and powerful.

This warm, soulful undercurrent, along with the wry sense of humor, elevates The Knowledge, turning it into a masterly latter-day work.

No matter that feeling, illustrated with one distressed scene after another, filtered through a multitude of inspirations and a few bodily fluids, The Ooz is a completely engrossing work from a one-off.

The album delivers the type of lush, cheerful disco Lindstrøm has always been known for, but there's a much darker undercurrent present here, and it feels like one of his most emotionally complex works yet.

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

This is a set of great songs from a master tunesmith, and Williams performs her material with greater intelligence and soul than anyone else could muster.

Discounting Losing's debt to the past, this is a high-grade garage rock record chock-full of emotionally honest, melodically engaging tunes. It may feel a little too familiar for those who experienced the '90s alt-rock boom firsthand, but those who didn't will no doubt be able to extract and enjoy its vibrancy.

Anthology won't offer any surprises to Carpenter devotees, but the music is undeniably authentic and faithful to his vision, and it sounds fantastic in any case. For anyone who isn't already familiar with Carpenter's films or music, this is a handy way to become acquainted.

The songs pop, the production is memorable, and the guests weave effortlessly into their respective tracks without detracting from Gucci's signature delivery.

Despite some deservedly hard edges, it's this vision of an open-hearted, open-bordered U.S.A. that gives All American Made its lasting power.

It dispenses cautionary maxims through passages of heavy guitar distortion and sleeker moments of acoustic guitar and synths. Taken together, his typical existential outlook combined with a heavier presence of New Order-like industrial timbres make this a somewhat darker album, but still delightfully Destroyer.

Rolling Blackouts Coastal Fever are still working out their game on this EP, but if you want to know if this band has promise, the answer is an insistent yes. Talk Tight has plenty of fine tunes, dry wit, and chiming guitars, and how much else do you really need?

Ultimately, on Dreams and Daggers, with its balanced framework of live and studio recordings, happy and sad romantic songs, small group and classical chamber pieces, Salvant remains as bold and as sharp as ever.

Fantastic Plastic isn't going to replace Shake Some Action in anyone's heart or record collection (or Teenage Head, for that matter), but for a first effort after a layoff of more than two decades, it's a truly pleasant surprise and a genuine good time.

In all, Boxing the Moonlight is a solid follow-up, offering a bit more of the variety that fans of this indie supergroup might have expected the first time around.

It has a few worthy cuts and in its ungainly construction, it holds true to the weirdness of most of Russell's discography.

As a Wu-Tang album, The Saga Continues is good but not great, but it's a fine calling card for Mathematics, and makes the case that he should be given an album of his own more often.

There's none of the emotional mess that has enlivened some of P!nk's best work, and while this sense of calm may be well earned, it does result in a tamer record.

Despite Plant's clear favor of the heart and head over primal pleasures, Carry Fire retains a visceral kick, because the singer/songwriter understands the transportive power of music, how the old can seem new when seen with a different light.

If there's any downside, it's a slight excess in length, with a handful of five- and six-minute cuts creating a bit of drag here and there. Still, it's a small grumble from a shockingly reliable ensemble still churning out top-shelf material nearly two decades into its career.

More tonally diverse and thoughtfully arranged than the Bottoms' previous output, Going Grey is still wily enough to please longtime fans while adding new layers to their sound.

Wide Open is a more polished affair than its predecessor, but Weaves haven't lost their gift for pairing knotty sonic architecture with gale force charisma.

No matter the setting, Corgan peddles heartfelt prog rock and here, when his songs are shorn of solos and kept at a human scale, his imagination feels immediate and bracing--and also a natural way for this once angry young man to ease into middle age.

No matter how unexpected the combinations, OUÏ is always utterly charming, and one of Camille's finest reinventions of tradition.

Add it up and it's an impressive display of indie rock knowledge and ability, enough to make anyone thinking they should give the band a pass (despite their unfortunate moniker) some deep second thoughts.

Masseduction delivers sketches of chaos with stunning clarity. It's the work of an always savvy artist at her wittiest and saddest.

As they're both charismatic singers with a way with an elliptical melody, it's pleasant enough, but by the time its 45 minutes wrap up, Lotta Sea Lice feels like a party where the hosts are having a much better time than their guests.

While that might mean Colors doesn't offer the depth and intrigue of most Beck albums, it does mean it's a fun confection. It's a record that's designed to be nothing but a good time, and that indeed is all that it is.

Longtime fans will find plenty of grist for the mill, but for the uninitiated, Haines will likely remain a singular but elusive character, which is probably exactly the way he likes it.

Eternal Recurrence is a fine, thoughtful piece of ambient drone-folk that is as challenging as it is assuring.

It quickly announces that they're as capable and creative as ever, and the finished product is as strong as anything they've released to date.

All the performances on Rule 62 are delivered with a casual assurance that gives the record a warm feel that, when combined with sturdy songs from a variety of styles, gives the record the feeling of an old favorite; it feels like a record that you've lived with for years, in the best possible sense.

The fascinating ways she puts songs and stories together on Three Futures reveals more with each listen.

Far from seeming aimless, the spaciness is controlled: guitars and bass build to occasional crescendos that then fall back to earth, and the prolonged periods of murmuring electronics do not lack texture or tension. It's this almost cinematic pacing that gives IN///PARALLEL its unique appeal.

Audio, video, or both, this is a fantastic version of a bona fide classic.

Just as much as their very best studio work, For Sale is a invigorating, joyous, rollicking summation of a remarkable band on a night when they truly lived up to their legend. If you ever loved the 'Mats, you need to hear this.

Two of the album's finest originals--burning perseverance anthems "Fussin' and Fightin'" and "Freedom Chain"--are reggae to the core, translatable from an intimate hideout to a sound system. Other moments travel far afield from McFarlane's prior sessions. Not one of them is disposable.

Cults give more of themselves on these songs than ever before, and opening themselves to more possibilities pays off with some of their most exciting music.

Tenderness sounds bigger, bolder, and more sensual than Blue Hawaii's previous work, thanks to the duo's embrace of house, disco, and '90s dance music.

As displayed on Nightbringers, there's plenty of room left to explore and experiment inside their sound, while expanding its parameters. They've done both to excellent effect here.

Found in Far Away Places, was a bold smorgasbord of stylistic trial and error--but Phantom Anthem is rooted in pure power, and it just never lets up.

Distilling discomfort into something more palatable is never easy, but with a name like the World Is a Beautiful Place & I Am No Longer Afraid to Die, the band probably knew that going in.

The Blow's most self-assured, thought-provoking, and exciting music yet.