The songs on French Touch are idiosyncratic and free of drama. But they are chock-full of tenderness; Bruni delivers them with keen insight into the lyric meanings these melodies convey.

The only time they stumble is when they get a little heavy, like on "Half Hour," where some of the musical choices overpower Simpson's tender vocals. It's a minor quibble that's easy to overlook, and it doesn't make the album any less enjoyable overall.

Heaven Upside Down is Manson at his most human. If Pale Emperor was a welcome return to form that signaled a new day for the band, its successor is just as satisfying, if not better.

To call I Tell a Fly a difficult listen may be understating it, but within this madcap art-pop song cycle, which is purportedly about two flies in love, are some genuine payoffs for those with the patience to stick with it.

Arty tropes aside, with Undivided Heart & Soul, McPherson continues to pull all of his varied stylistic influences together into his own vibrantly coherent brand of visceral, emotive rock that grabs you by the collar and demands your passion.

The entire album is a stunning work of highly advanced kaleidoscopic new age pop, and is easily Smith's best and most accessible release to date.

Stripped of harsh digital fuzz and angular guitars, Fatherland is an honest, satisfying window into the heart and mind of the man himself.

Pinewood Smile should be all killer no filler, but late-album offerings like the vapid "Happiness" and the infantile no-fatties ballad "Stampede of Love"--Spinal Tap's "Big Bottom" was ludicrous and infantile, but it wasn't cruel--suck some air out of the room, making the whole thing feel a little stale, which is the last thing you want from a project that so fetishizes another era.

New Energy is one of the most accessible, listener-friendly releases in the Four Tet catalog, but it still maintains the creativity and unpredictability that have always made his work stand out.

Sterilize is raw, unrelenting rock music that unapologetically draws blood.

If you're up for a highly creative, exhilarating sugar rush, Neō Wax Bloom will undoubtedly be one of the most joyous surprises of the year.

This collection is full of fine music that merits attention, but as a career summary, it falls short of the mark.

An artful mix of focus and atmosphere, Real High may be Nite Jewel's finest moment to date.

Come All Ye: The First Ten Years is essential listening. For fans, all of this is necessary, for the curious, start with the studio offerings (there are two fine offerings entitled Five Classic Albums, Vol. 1 and Vol. 2) or the double-disc Gold from 2008.

There's a fine line between repeating and elaborating on a band's style, especially when that band has had as distinctive and lengthy a career as Mogwai's. Nevertheless, Every Country's Sun has enough great moments to please fans.

While not his most consistent crop of songs, light brushes with Steely Dan-like jazz-rock and bolder synths add flavor to a still distinctive sound that's likely to be welcomed by fans.

It's Mayfield's most compelling work yet.

Double Dutchess couldn't possibly match the commercial success of The Dutchess, and much of it is merely adequate, but Fergie is demonstrably as energized, and having a ball with nothing left to prove.

Now in his middle age, he's a richer, nuanced singer than he was during Oasis' heyday, yet he's retained his charisma and, unlike his brother, he favors color and fire in his records, elements that not only enhance this fine collection of songs but make this the best post-Oasis album from either Gallagher to date.

At the age 60, Almond delivers Shadows and Reflections with absolute commitment. On its surface, it is an exotic encounter with the sound of another era, but this is not merely an homage, but a work of tremendous musical vision and emotional depth.

It's a cozy sound, one that feels as intimate as a front porch but is delivered with the precision of seasoned pros, and having old tunes--including sweet covers of the Everly Brothers' "Walk Right Back" and Tom Petty's "Wildflowers"--threaded in between the excellent new tunes from Hillman helps make Bidin' My Time feel like an understated summation of everything Hillman's accomplished in his long, varied career.

It's hard to say if it's enough to warrant a purchase of this hefty box, but in either its CD or LP incarnation, A New Career in a New Town is a handsome, alluring, and exceptional-sounding reissue that earns its price tag.

A reflection of a young band trying out all its possibilities, Visions of a Life is more scattered than My Love Is Cool, but its best songs hint at even more potential.

Introspective in personal as well as universal ways, Bring on the Sun is an excellent sampler of Laraaji's many strengths.

There's a lot to love here, especially on some of the more idiosyncratic offerings like "Airfield" and "Shinrin-yoku," but listeners expecting to bloody themselves in the electronicore, stadium-screamo assault of past outings might want to take a pass.

Her richest music yet, Fool's Paradise is a beautiful portrait of Hussein's heritage and artistry.

Ultimately, Starsailor have been around long enough to earn veteran rocker status and All This Life, with its perfect balance of emotional gravitas and buoyant lyricism, is an album worthy of that status.

Although there are ghosts of traditional soul threaded through the record, the production is firmly modern, filled with electronic flair and allusions to hip-hop rhythms. It's a sound that suits Lovato, who has never positioned herself as a retro-soul singer but has repurposed older sounds for a fresh audience.

In the end, Ash is many things: militant, vulnerable, and tender; it is urgent yet unhurried, its sharp edges unapologetically exposed. It is rooted in struggles and seeks victory, not deliverance. It is not only memorable, but indomitable and beautiful.

The Desaturating Seven is unlikely to attract new fans. Typically eccentric, it's an interesting exercise, although nonessential outside the sphere of Primus/Claypool devotees.

As a whole, Crosby touches on a number of pleasing themes and sounds on Sky Trails, lending his sweet tenor and trademark harmonies to material of surprisingly high quality given his recent prolificacy.

It's chock-full of refreshing, sophisticated ideas, all balanced by an empathic, emphatic inclusiveness that engages the listener at both musical and emotional levels.

Que Aura is the richest, most diverse, and interesting-sounding album he's done yet, with the songs to match.

2017's ambitious full-length Emperor of Sand saw the progressive/sludge metal veterans delivering a heavy-hearted concept album about grief, and while Cold Dark Place's title would suggest an extension of that narrative, it's more of a loosely knit addendum that illuminates the latter outings' soul-searching proclivities by proxy.

The Centre Cannot Hold constantly seems on the verge of collapse, but it never descends into utter chaos. It gets abrasive and engulfing, but it isn't accurate to describe it as a noise album. Frost and his associates expertly harness levels of sheer energy, resulting in a brilliantly forceful, commanding work.

Relatives in Descent manages to sound more thoughtful and introspective than 2015's The Agent Intellect without sapping the strength of this great band; quite simply, as a bit of record-making, this is Protomartyr's most impressive accomplishment to date.

What follows is one of Ritter's loosest and most rewarding outings to date, delivering a steady stream of compelling characters caught between bravado and vulnerability, constantly trying to find their emotional footing.

Now feels fussy, as if every element was triple-guessed because the pressure to have a triumphant comeback was too great.

His mix of wistful tenderness and cerebral darkness plays out in the songs' twists and turns as he pits Bon Iver-ian robo-soul and folk gentleness against sometimes menacing basslines and frigid atmospherics. It's an approach that agrees with him on this strong sixth effort.

The spontaneity on this set is more akin to a live record than a studio effort, making it a most welcome entry in his catalog.

If Younger Now seems slightly scattered as it flits from song to song, it nevertheless adds up to a portrait of a pop star so confident of her swagger, she doesn't bother with such niceties as old-fashioned flow.

Overall, this is quite different (and stranger) than most Laraaji recordings, but even without his laughter or his autoharp, everything he does radiates positive energy, and this is simply another fantastic entry in his catalog.

Judging by how well they execute this pop/rock hybrid sound, Gossip is a risk that paid off.

Both fierce and fragile, Hiss Spun presents an artist in compelling control of the entire scope of her expression.

There is a sameness to the tone and tempo of many of the tracks causing much of the album to blend together, but if the whole affair doesn't quite reach the artistic highs of earlier releases, the band certainly make good on their soothing intent.

I'm a Harmony isn't the revelation that Parallelograms was, but it's not a letdown, either; this is the work of an artist whose singular creative viewpoint hasn't dimmed with time. She still has a great deal to say, and those who loved her debut will discover she hasn't lost her touch.

A deeply comforting album, Okovi is some of Zola Jesus' purest-sounding, most profound music in years.

Half-Light is a sprawling, passionate musical memoir; as far as remembrances of things past go, this one is remarkably forward-sounding.

Dedicated to Bobby Jameson is a weird, catchy, thought-provoking celebration of individuality that offers one Pink's most appealing balances of sugary accessibility and irreverent indulgence.

Stills and Collins have a gentle, easy chemistry and the studio-slick supporting performances provide a nice bed for a project that is less nostalgia than a reassuring reminder of the comfort of growing old together.

Longtime listeners will know the drill, but newbies looking for some frame of reference might want to imagine Sigur Rós, Mew, and Sunny Day Real Estate in an art school lunchroom brawl.

Omni deliver the songs with all the punch of a band twice their size. They beat the tar out of the sophomore slump and come away with another instant classic album.

Ray Wylie Hubbard is making music that's tougher, more effective, and better crafted than most artists a third his age, and Tell the Devil I'm Gettin' There as Fast as I Can is yet another striking example of his casual brilliance.

While some fans might prefer Macklemore with Lewis, Gemini is a reminder that before the multi-platinum singles, hit albums, and thrift shop threads, he could handle himself just fine.

While it's easy to admire the craft behind Forced Witness, it's a little harder to embrace the album as a whole--and not necessarily in the ways Cameron may have intended.

Taken as a whole, Communicating presents a multi-layered universe of off-center pop well worth exploring.

It's hard to imagine where METZ can go after pushing their sound and skills into the red zone as they have on Strange Peace, but with their third album, they've left no doubt that they're one of the most singularly powerful rock bands in North America, and you ignore them at your peril.

Not everything on V works--"Weighed Down" and "Gathering" lack the focus of the album's highlights--but the songs that do are some of the Horrors' most exciting yet.

Fans wishing for a full-on return to the glory of early days may not find their reward, but 15 years into their career, the Bronx have matured into their craftsmanship and can both rock and write harder than most of their younger peers.

Scuttling percussion, noodling electric pianos, and rubbery basslines remain suited for Bronson's nasal, humor-laced self-praise and subtle jabs at himself, whether he's boasting about his swimmer's body and celebrity chef friends, lamenting his inability to dunk, or proclaiming "Your shit lack quality/I'm sittin' right behind my chick makin' pottery."

The supplemental voices are used to positive effect, whether they contrast with or echo Ejimiwe's plaintive surveillance of personal and societal ruination.

The performances on Acoustic Classics II don't supplant the original recordings, but they do offer compelling alternate versions of some of the gems from his songbook, and this is a simple but satisfying addition to Thompson's recorded catalog.

The album never comes off as a slavish museum piece. It feels instead as if they somehow rediscovered this sound, like an old coat picked out of the attic that looks as perfect with a modern ensemble as it did in its own heyday.

Richly layered and emotive even by Hercules & Love Affair's standards, Omnion is equally committed to moving hearts and bodies.

On Exile in the Outer Ring, Anderson calls on listeners to maintain their humanity in powerful, unnerving ways that make it one of her finest achievements.

Andrew spends TFCF discovering sounds that previous incarnations of Liars somehow never explored, whether it's the oddly majestic psychedelic flamenco of "Cliché Suite" or the brittle piano pop of "No Tree No Branch," one of a streak of surprisingly catchy songs on the album's second half. Amidst all the change, Andrew holds onto some quintessential Liars qualities.

As is the case with much of A Sentimental Education, both of those songs [Bob Dylan's "Most of the Time" and Mercury Rev's "Car Wash Hair"] find Luna deftly straddling the line between deep reverence and inspired reclamation, a perfect balance that renders each track a new addition to the band's own storied oeuvre.

For an act that has been operating creatively since the mid-'70s, Amadou & Mariam once again prove their art can thrive in just about any setting.

Thrice Woven marks the welcome return of the power and dark majesty of one America's most original metal bands.

Perhaps out of necessity, the group seem more inspired here than they have in a while, and the result is arguably their best work since their 2000 opus Lift Your Skinny Fists Like Antennas to Heaven.

Hallelujah Anyhow is another outstanding exercise in record making from Hiss Golden Messenger, and it's recommended to loyal fans and curious neophytes alike.

The times are always right for music as healing and calm as the Clientele's; the times surrounding the release of this wonderfully peaceful and uplifting album need it even more--and, thankfully, the band has responded with some of its best work ever.

The record charms because its ridiculousness is sincere and his sincerity is ridiculous--two qualities that make him and his art messy and quite genuine.

As a whole, Cryptoriana: The Seductiveness of Decay is a welcome step further ahead from Hammer of the Witches in its force and economy, and even with its missteps it's a stronger album for it.

The result is nourishing, a lulling yet ringing affirmation of Wright's deeply rooted connection to the South and its music.

It's a clunky end to a disappointing album; one that sounds less like a reinvention and more like a giant step down a path best left unexplored further. Maybe they can strip back down to a trio, get their pedals back, and return to being a first class psych band instead of second rate indie rock troubadours.

Haiku from Zero may be Cut Copy's most Cut Copy album yet, full of hooky songs and breathlessly danceable songs. The only thing it is missing is inspiration or invention, which also means it is their least successful record yet as well.

Maybe it's missing a little bit of the thrill that came along with hearing TERRY for the first time, but there isn't much anyone can do about that. All the band can do is keep cranking out these kinds of smart and snappy pop songs an album at a time, hopefully for as long as possible.

Whichever word one may choose, the record is a delight for lovers of psychedelic guitar interplay, and Beaches continue to be one of the best exponents of that sound around.

It's anyone's guess what the Yawpers might have in mind for the future, but they sure stepped up their game with their sophomore album, and Boy in a Well is an experiment that absolutely succeeds.

Here and throughout Before the Applause, Re-TROS sound fully in command of their sound, and fans of Liars, Battles, Factory Floor, and Public Image Ltd will almost certainly get--and love--where they're coming from.

Highly stylized but memorable for both its unusual palette and what are ultimately consistently good songs (for outright earworms, don't miss "Blue Cigar" and "Daddy Long Legs"), Saturn Over Sunset is recommended for anyone intrigued by the idea of retrofuturist anti-pop.

New Magic is a different animal than Son Little [the self-titled], but both albums are products of a strikingly gifted artist, and listeners who want to hear a smart and passionate musician take R&B into new, thoughtful places owe it to themselves to give New Magic a careful listen.

Mareridt is a work of atavistic mystery, unflinching honesty, and balance. It embraces everything from horror and beauty to the sacred and profane; its creator has encountered them all within, faced and accepted them, and ultimately woven them into the fabric of her being as music.

That Numan can still juggle melodrama and musicality with such effortlessness is impressive, to say the least, but that he can make it so compelling is what sets him apart from his old guard new wave contemporaries.

The Laughing Apple can in some ways be viewed as a compromise, as Yusuf makes an album that will resonate with old Cat Stevens fans, but there's never a moment where he seems less than sincere and committed, and this merging of past and present makes for Yusuf's most satisfying album since his return to popular music in 2006.

Many of these tracks have been released before, and there are few revelations for loyal fans, but Under Cöver is an enjoyable reminder of Motörhead's ability to bend any song to their will, even as they let some of the personality of the originals shine through.

It's a record where Lady Gaga can join in for a six-minute slow-burner styled after prime Faces ("Find Yourself") and feel at home because this is a place where anybody is invited just as long as they share the same vibe. And, as a listener, if you happen to share that vibe, Lukas Nelson & Promise of the Real is a pure pleasure.

Parallels is the sound of an artist regaining perspective after a devastating setback, and while he still makes music to drift away to, it's more focused than ever.

Mountain Moves' whimsy often feels like a party that just happens to be political, but it's this sense of joy that makes protest--and Deerhoof's career--sustainable.

Considering the sheer volume of material, it's inevitable that not every track on Take Flight resonates, but it does contain a generous number of highlights. At least initially, it seems best to approach the album as background listening and let the tracks reveal themselves over time, rather than attempt to concentrate on them all on the first go-round.

Starr remains fond of late-period Beatles, goosed with a bit of arena rock volume, and since he's working with a group of well-seasoned pros, this guitar pop is all well crafted and amiable.

Unlike Vol. 1, which ran out of steam during its last third, Vol. 2 keeps its momentum from beginning to end, clattering and shambling through its 33 minutes without a false step.

Of the pair, Vol. 1 is the most interesting lyrically, but it's uneven--even boring at times--musically, particularly in the last third.

It may take Haines another ten years to make her third solo album, but hopefully when she does it will be as richly melodic, subtly dynamic, and emotionally powerful as this one is.

There aren't many current groups that do what Antibalas does so well, especially in the United States, and Where The Gods Are In Peace reminds us they take their art and their message seriously, even as their music generates an impressive degree of joy.

Foo Fighters show that they're in love with light and shade, fury and quiet, every twist and turn they can make with their instruments, and even if Concrete And Gold isn't about much more than that, it's refreshing to hear the Foos embrace to the logical flashing conclusion of Grohl's allegiance to real rock values.

An earthy, majestic, endlessly inventive album that caps both his own storied career and points the way toward the future.