As a fully absorbent headphone experience, there is plenty to uncover, but like its title suggests, No Further Ahead Than Today works just as well as a mindful, almost meditative experience.

It all makes for a more focused--but far from simple--album that's a gorgeous, confident step forward for Illum Sphere.

Though hushed, lush, and intimate psych-folk may not have been anyone's first choice for where Hanson's path might lead next, The Unborn Capitalist from Limbo is beautiful and strange, and proves to be a trip well worth taking.

Ruins is an undeniably heavy bit of business, and if given time to work its magic, it will both infect and inspire.

With their debut album, E create urgent music for chaotic, uncertain times.

Though Body/Head reject the notion of definitive versions of their songs, No Waves might be the album that captures their spirit to its fullest. Equally taut and flowing, this is improvisation at its instinctive best.

At no point during the album do Hamilton and crew feel like they're phoning it in, but the visceral moments are fleeting, and often tempered by melodic detours that fail to swing back around to assess the damage.

The whole point of doing acoustic versions is usually to lay bare the material, deconstructing it down to its roots, but for the most part, Acoustic feels a bit too polished and adjusted.

Mr. Entertainment and his bombast do not disappoint. The Heavy Entertainment Show is his most invigorated album in years, a truer return to the pop realm than 2012's Take the Crown.

Pavo Pavo have achieved a collection that eschews the obvious, being undoubtedly hip yet simultaneous geeky in its references, and the resulting work is a real gem.

The "uh oh"s that punctuate "Hyper Dark"'s shattered balladry hint at Jessica Rabbit's state of emergency, while "Torn Clean" is one of the band's prettiest songs yet. Contrasts like these have been Sleigh Bells' modus operandi since the beginning, but Jessica Rabbit's mix of brashness and finesse proves they can still thrill.

While the production is just a tad too polished to feel as gritty as Miller's best '70s works, the music is nevertheless in that vein and many of the songs are quite good, particularly the gospel-drenched Elton John number "Where Do the Guilty Go?" and the swaggering "Way Past Midnight" (performed with Lewis).

Romare's disjointed sound takes some getting used to, but it's often bewitching, and Love Songs, Pt. 2 is his best effort yet.

Highway Songs encapsulates Pajo's life experiences into a poignant travelog, and considering all that he's been through, it's a life-affirming work.

Sting sifts through familiar territory with songs of protest sitting alongside songs of yearning and love and it all adds up to record that's simultaneously unassuming and revealing: through its modest nature, 57th & 9th stands as testaments to Sting's inherent gifts as a songwriter and recordmaker.

Certain listeners might bemoan the shortage of uptempo belters here, but one attentive and thorough listen presents a clear justification.

It's easy to stand on the sidelines and say that a more streamlined, ten- to 12-track version of the album would suffice, but one of the many things that's helped to make Hersh such a singular talent over the years is her unwillingness to compromise, and on that front, the punishing and beautiful Wyatt at the Coyote Palace doesn't disappoint.

XAM Duo is a synth lover's dream, a calming balm to the hectic hustle of modern life, and a trippy excursion into the futuristic past.

Jeezy doesn't say much that deviates from previous ice-veined rhymes, but he attacks just about every track with intense focus and ferocity

It delivers an excellent portrait of Wobble as disciple, master, and prophet of dub.

On Telling It Like It Is, Marching Church sounds like a congregation running wild, searching for the truth. Even if they don't know where they'll find it, it's thrilling to join them on the hunt.

The duo's love of huge, fuzzy guitars hasn't dimmed and anyone who shares that love will find Balance to be something pretty special. So will lovers of psychedelic music, fans of dream pop, shoegaze aficionados, and people who want music that will remind them of the past, but take them somewhere new.

From front to back, the quality is so balanced that there are no obvious peaks or lulls, though the tracks that incorporate harp and harpsichord stick out a little more for their uniqueness relative to standard soul-funk revivalism.

As its title suggests, there's an eldritch purity to Older Terrors' combination of post-rock, shoegaze, and metal that makes it some of Esben & the Witch's most ambitious and captivating music.

At first blush, this is not one of Anderson's most immediately engaging albums, but it has a meandering charm that works its magic over time.

"Charlie Brown" is a swirling circle of doom, "I'll Take It and Break It" punishes with its stomping riff, "Bums" races along, while "Nightcrawler" revels in its menacing depravity. All this makes The Deaner Album sound a little excessive but there are also moments of madcap pop ("Bundle of Joy," "You Were There"), twisted country ("Tammy"), and funk ("Mercedes Benz"), all parceled out with expert pacing, so the album plays like a drunken, giddy party.

Pharrell Williams is on the couple's perseverance anthem "Work on It," a wobbly ballad, while Illangelo was involved with "Holy War," where some dulled drums interrupt a mostly acoustic number about backward societal views of war and sex. These songs, like a fair portion of the album's remainder, are not lacking in energy or conviction, but they're raw as in crude.

Become Zero is a stunning album that takes Helen Money's already otherworldly, highly accomplished sound to fascinating new levels.

That one track ["Canna-Business"] aside, Brotherhood of the Snake is not only on par with Testament's best records during the millennium thus far, but ever.

All that's here, dark or bright, is vital.

For all its emphasis on the past, Stripped sounds like a step forward.

The music represents a brave move forward. The lyrics, however, are not so innovative.

It also exhibits a sleeker sound than the notably rough-hewn debut, with McClure having invested in "a laptop and some decent microphones." Thankfully, these changes don't erode the outfit's free-spirited charisma.

The album isn't a comeback but a continuum, and a welcome return from a true oracle of traditional song.

Two decades on, Lambchop are not only still able to surprise listeners, they're doing some of their best work at the same time, and FLOTUS is an unexpected triumph.

Bon Jovi and Shanks may not have done much to freshen up the band's sound--they don't take any mid-2010s musical trends into consideration--but that simmering defiance does mean this is the band's liveliest album in years.

Seven years is a long time to wait between albums, but if that's how long it takes to make the album as good as this is, then the wait was worth it.

Those seeking the wacky thrills of Regions of Light and Sound of God might be surprised--or even put off at first--but closer listening reveals the poignant and provocative Eternally Even as a stronger, deeper album.

It's a bit of a mess at times, but there's no denying that Crying's sense of fun is a major part of their appeal.

Songs like these and "Keep It Simple" make the most of Lo's big voice and personality on an album that, despite its provocative title, often feels more straightforward than Queen of the Clouds did.

Fortunately, for every formless track, there are two more like the brilliantly buoyant "Dream Orchestrator," a glimpse of 21st century psych-pop at its finest. Moments like this make Clear Shot TOY's most ambitious and rewarding album yet.

Dissociation is an impressive album and a perfect endpoint to a very noisy and varied body of work.

Redemption & Ruin is a fine covers album: it not only illuminates and adds new dimensions to these songs, but it unmistakably reflects the Devil Makes Three's musical persona, making it a welcome addition to their catalog.

On the ambient side, tracks often play into one another with quiet transitions, making single-track play potentially abrupt.

An album full of potent atmosphere, dirty guitars, and emotional honesty, Burn Something Beautiful ranks with Escovedo's best and most adventurous work, and both fans and curious neophytes owe it to themselves to give it a listen.

The nifty thing about Cosmic Hallelujah is that it plays as if it's a passion project: Chesney is determined to connect with his times without abandoning himself, and the result is one of his best records.

So although introspection may be on full display, it feels more like a celebration of life--a post-realization that it's a mix of highs and lows.

Because of their association with Bowie, the quartet's Beyond Now will get attention from a wider range of music fans than a jazz album normally would. But this record warrants attention on its own merits because it showcases the exciting, genre-blurring sound of a sophisticated band coming into its own.

Though they rock convincingly, there's something missing on Babes Never Die; they've become a more focused, accomplished band, but it's at a price.

The moody astral tones of opener "Good Mourning" get the album off to a slow start, but in general there are plenty of standouts scattered throughout Third World Pyramid that could stand up to BJM's best work.

Leaps beyond predecessor Stomachaches, Parachutes benefits from its creator's inner turmoil, providing as much emotional support to Iero as it does to listeners with similar struggles.

Two Vines may not be the group's masterpiece, but it is their most consistent album yet. Their mastery of modern pop sounds, ability to craft melodies that have a timeless quality, and the real connection they provide to people who want their frivolous pop music to have some depth and meaning, is impressive.

Honeymoon on Mars isn't up to the level of the Pop Group's finest recordings, but it's still punk/funk agit-prop that's fearless and unafraid to strike, and if anything, their brand of troublemaking is more deeply needed now than ever before.

Confessions turns out to be as charming as it sounds on paper; at times it's even profound.

The album is highly focused and engrossing, and continues Hauschildt's run of nearly flawless albums.

There are clever parts strewn throughout and some of the more ambient instrumental tracks like "i.v." and "l.i.v." are quite nice, but overall, the songs themselves don't have quite enough going for them to support the album's quirky intentions.

Eastside Bulldog doesn't sound like a typical Todd Snider album, but it's very much a product of his irreverent wit, and if you're looking for some tunes to turn up the party in the 30 minutes before last call, this could be just what you need.

Mapping the Rendezvous might not appease those fans still waiting for the return of St. Jude, but eight years after their debut, the Courteeners have grown up and streamlined their sound, resulting in a tight, energetic blast of dance-rock.

A few songs sound nothing like Crocodiles, like the rollicking Latin-inspired ballad "Alita" and the cheerful '60s pop/rocker "Not Even in Your Dreams," but it still works thanks to the focused songwriting and the care they put into the sound. That at least half the songs are among their most powerful and poppiest to date ("Telepathic Lover" chief among them) doesn't hurt, either.

Here and throughout Masculin Feminin, Blonde Redhead's sense of melody and drama sets them apart, especially on La Mia Vita Violenta.

Despite the talent on board and the high-concept thinking that went into it, there's a dry, brittle quality to Savoy Motel that saps this material of its strength, and this band has only so many tricks in its pocket to begin with.

Like an Arrow doesn't simply feel like it's built to last, it feels like it's been kicked around the block a few times and has emerged all the stronger for it.

An icy-cold affair. Proving that incarceration couldn't slow him down, the 13 tracks are packed with typical boasts, all come-at-me defiance and bravado.

Attitude counts for a lot with Chrissie Hynde, but the true appeal of Alone is how it marries solid songwriting with a sympathetic, surprising production, all of which amounts to a very satisfying Pretenders album.

It's his friendliness that makes his musings on the human condition work, and with Winter Wheat, he's once again crafted another thoughtful and meaningful set.

Integrity Blues is Jimmy Eat World's most immediately accessible and focused album in years, a peak in the decades-old catalog of these reinvigorated and endearing stalwarts.

From start to finish, Let It Be You is a collection of appealingly loose, lush songs full of creativity.

Most bands really want everyone to know how extremely hard they are struggling to create their art, but with these guys it feels like they just showed up at the studio and started playing, and the album magically was done. It's an approach that might not work for everyone, but so far the guys in Hooten TC have pulled it off for the second time in a row.

After a pair of lovingly crafted though similar-sounding albums, Apricity is a welcome venture into uncharted territory for Syd Arthur, and displays their willingness to grow and expand.

The Serenity of Suffering is a welcome return to a time when Korn were at the top of their game. It's one of their best albums, almost heart-warming in its cathartic familiarity.

Lighthouse is lovely, but the lack of attention to detail blunts some of the writing and playing craft on offer.

Some might miss the more abstract appeal of the original AF album, but the way the band updates and slightly expands that approach makes this new album a resounding success that works on the sonic level, and maybe more importantly, a deep emotional level.

It may even be their most consistently impressive and overall most cohesive record to date.

Despite his long list of gripes, sins, and losses, Cohen's instinctive opening to whatever light remains prevails on You Want It Darker.

Where previous Gaga albums were high-wire acts, Joanne is decidedly earth-bound, a record made by an artist determined to execute only the stunts she knows how to pull off.

If not quite as substantive as Malibu, this is one of those albums that can be played continuously without risk of depreciation.

This is solid restart. JoJo displays more than a decade's worth of growth here as a writer and singer.

Overall--despite the serious premise of addiction and recovery--The Wave is urgent and joyous, so achingly hopeful that it's hard not to root for Chaplin and his family.

As with any compilation, it plays a bit unevenly at times, but overall, Say Yes! is a solid listen born out of great respect for Smith's legacy.

Obel's penchant for pairing elements of Elizabethan choral polyphony with millennial angst, not to mention her liberal use of spinet and celeste, would seem pedantic in less skilled hands, but there isn't a single moment on the quietly stunning Citizen of Glass that doesn't feel authentic.

The songs all keep to a calm, unhurried pace, but stand-out "Do You Need My Love" has a slightly busier rhythm, driven into a hypnotic midsection by impressive drumming and Lennon-esque pianos. Mering's singing has never sounded lovelier or more pristine than it does here, and her yearning lyrics are at the forefront of these elegant compositions.

The result is a beautifully arranged but fleeting collection that could work a little harder to draw listeners in.

It's intimate and powerful and, at 48 minutes, it's also a perfect length. Requiem for Hell is simultaneously a perfect introduction to and summation of Mono as a band.

With Gameshow, Two Door Cinema Club ultimately balance a growing pop maturity with a stylish strut worthy of Saturday Night Fever's Tony Manero.

With the exception of the seriously catchy "Get Your Way," the rest of this set is dominated by the group's rock moves, but at the same time, Polizze writes actual songs, not just frameworks for his guitar work, and it's the melodic strength of High Bias that makes it so powerful.

Everyone involved should make a concerted effort to do it again, because the album works on so many levels. It's an absolute joy that both hip-hop lovers and Brazilian music fans will be able to appreciate.

Fully energized and tightly concentrated, the producer's first studio album in three years is a concise and infrequently relenting set of nine songs that rail against those who have caused emotional and planetary harm.

The rest of the surprisingly accessible Smash the System follows suit, weaving in some solid singer/songwriter-y bits ("Bomber Jacket"), some Sleaford Mods-style post-punk ("Power of the Witch"), and even a dollop of neo-pagan Wicker Man-worship ("Cosmic Man"), all with a wink and a nod, of course.

Stewart is content to work on the fringes of the synth pop underground, and that's the kind of iconoclasm that makes It's Immaterial worth seeking out for fans of the sound who are sick of how omnipresent it seems.

Even on more restrained moments like these, Gately's audacious ideas and artistry make Color a dazzling debut album.

The album feels like the duo are reaching for something greater, but the end result feels like a dilution, a compromise, and every other synonym for middle-of-the-road.

As per usual, the band has little interest in settling into any specific genre, incorporating bits of noise rock and black, sludge, and prog metal into the mix whenever they see fit, but one thing Whatever Forever does do consistently is melt your face off which, in the end, is probably a good thing for the earth.

Some of the lyrics are so direct that they scan as trite, yet they're expressed with soul-stirring, serve-the-song conviction, and he's in the top tier when it comes to pure skill. Moreover, the songs are of undeniably high quality, filled with joy, gratitude, and devotion.

The album succeeds in creating a calm state of mind, but it never dwells in one place for too long, sounding more excited than it might seem on the surface.

Overall, Oh My My is another solid record from a group led by one of the best songwriters of a generation.

It's a dense and lyrically challenging record, as you would expect from two highly intelligent individuals who have lived through the bars they deliver, but it ends on their most salient point: "Can't escape yourself, please love yourself," Riz MC's final words on "Din-e-llahi."

Every Now & Then is the best kind of second album, one that improves on the first one without throwing away any of the elements that made it good.

A confounding, often thrilling album of pieced-together samples and shorted-out electronics that nevertheless has a primitive groove coursing through its veins.