At once balanced and eclectic, Silver Eye may be the first Goldfrapp album to represent all the sides of their music equally well--no small feat, considering how long they've been dancing to the beat of their own drum machine.

She may have been through the ringer recently, but she's choosing to be positive--or, as she sings on Shawnee Kilgore's "Abraham," "When I do good/I feel good"--and that gives Joy Comes Back a relaxed richness that's quite restorative.

While the album might be "business as usual" for Murs, that's purely a good thing. Two decades into the game and he's endearing, insightful, and sharp as ever.

It delivers the sound of a mature band coming into its own and learning to utilize its various strengths.

Pitbull manages to provide enough variety on Climate Change to at least maintain his position as one of the globe's most enduring peddlers of positive vibes.

Like contemporaries Daya, Steinfeld, Bebe Rexha, and Dua Lipa, Larsson delivers polished R&B-influenced pop gems that shine bright like diamonds while maintaining a too-cool-for-school factor that helps to distinguish her from the bubblegum.

From Deewee is a welcome and satisfying return from the sibling pair.

Afterlove is a brave bid for contemporary relevance in 2017, a wonderful step outside his comfort zone that is more memorable and exciting than much of his output this decade.

As precise as ever yet oddly moving, Silver/Lead reaffirms that Wire are more like mercury, shape-shifting effortlessly while remaining true to the things that have always made them great.

Tribute to Ndougo Dieng may delineate a new phase for this band in the studio, but the music on offer is satisfying; it's deeper and wider and the elements of joy are untouched by time. And make no mistake, it still slides down the spine toward the belly to create an almost irresistible temptation to dance.

Each of Holter's studio albums showcases her skill at transporting listeners into the worlds she creates; on In the Same Room, she brings all of these worlds together in performances that are equally intimate and spectacular.

If Dylan learned anything from Sinatra, it's how to drill to the core of the song. Dylan does just that on Triplicate, finding the heart beating within some old warhorses and placing them within several great American musical traditions, and that's why this cements his place as one of the most distinctive interpreters of the Great American Songbook.

Ainsworth's ornate palette and attention to detail may not attract casual listeners, but those drawn to the icy yet vulnerable strangeness of acts like FKA twigs or certainly Ainsworth's first album will find a rewarding set that expands with repeat plays.

It's every bit as ugly, uncomfortable, and bothered as one would expect from Wolf Eyes, and it feels like the only logical way such an expression of confusion and paranoia could unravel.

This album incorporates nearly all of the many facets that make British Sea Power memorable, and it's their strongest overall effort since Do You Like Rock Music? in 2008.

Pure Comedy is indeed a very grand record, an old-fashioned major statement designed to evoke memories of classic long-players from the '70s. Often, its stately march and decorated pianos call to mind early Elton John, suggesting the hazy vistas of Madman Across the Water.

Make It Be is more than a pleasant diversion or an oddball one-off: It's the work of two artists of great worth firing on all cylinders. Fans of both Moore and Falkner should be thrilled by the results.

Close Ties shows that it's possible to be an experienced professional and still make music that's emotionally urgent and immediate; it's also a reminder that Rodney Crowell was and remains a talent to be reckoned with, and this album shows he's a long, long way from used up.

Here ["My Kids Live on Mars" or "I Can't Express My Deep Love" ] and throughout What If, the ways Hauschka explores the possibilities of his music--and the future--make it one of his most intellectually and emotionally engaging albums.

Damaged Bug isn't just a great side project; it's almost as good as Dwyer's main gig, and Bunker Funk is one tiny tweak better than Cold Hot Plumbs.

Overall a more unsettling collection than his debut, Fussell still offers a unique experience and applies his distinctive take on Southern American music that is like no one else's.

Hitchcock has settled into a sort of seasoned eccentricity, and this economical, late career gem proves that he's still got plenty of Madcap Laughs left in the hopper.

Whiteout Conditions shows they're already brighter and more satisfying than just about any of their peers.

Their debut record doubles down--or triples, if we're talking about actual time--on those sentiments [of youthful fun and young defiance] and exposes a deeper level of honesty, although that same honesty might make it hard for anyone over a certain age to relate.

The dovetailing of a traditional Indian melody deftly arranged by Khan and Yorkston overlaying Thorne's reading of Roger Eno's drolly English "You're Just a Bloke" is the kind of offering that makes this collaboration so unique.

Hopeless Romantic has an appealingly cool veneer in addition to a sturdy structure of songs. It comes on so smoothly, it's easy to overlook how the songs quickly sink into the subconscious.

They're demonstrating they can write and play as well as anyone in pop and country in 2017, and the album is a rich, thoroughly satisfying delight.

Loaded with vocal hooks, sassy, R&B-infused performances, and textured, groove-powered tunes, it's a hypnotic set that's definitely got its own thing going on.

Song of the Rose won't do much for your next dance party, but if you're looking for music that's intelligent and introspective but still revels in the beauty of the world around us, then Arbouretum have made an album you need to hear.

As always, Ghersi pushes his boundaries on Arca, and the vulnerability he displays makes it some of his most exciting and moving music yet.

All-Amerikkkan Bada$$ is the sound of a young rapper finding a voice and higher purpose, an exciting and powerfully insightful statement.

This is Guided by Voices sounding free and wild, and it's ultimately more satisfying than any of the "classic lineup" GbV reunion efforts that appeared between 2012 and 2014.

It's compelling stuff, and Combs imbues all of his characters, no matter how lost they may be, with humanity and humor, and it's that knowing nod to vagabond life that makes Canyons of My Mind so easy to get lost in.

The album sounds huge and intimate at the same time.

An impressive debut from a very promising songwriter, hopefully with more to come.

Through musical discipline, a poetic sense of self-expression, emotional honesty, and rigorous intellectual curiosity, Ulver reveal not only what remains possible in synth pop creatively, but the aesthetic abundance that was there all along.

Ultimately, there's nothing careless about Careless People, and Charlotte OC has crafted a smartly paced album that builds slowly and holds out some of its best moments for the latter half.

With a full set that rivals their best songs to date without significant reinvention, it's a must for fans and great place to start for the uninitiated.

Belong manages to strike a nice balance between San Fermin's musical theater/experimental rock predilections and their emerging pop ambitions, and while there's still a lot to chew on, the taste has grown significantly sweeter.

They take a decidedly psychedelic approach on songs like "Through Windows" and the impenetrable "The C Is A B A G" ("and the sky has a film"), but a knack for sunny tunes and an off-kilter delivery keep everything sounding like themselves.

Toxic City Music is a truly daring, captivating release, and possibly Caminiti's best solo work yet.

Death Peak reaffirms that Clark's music isn't constrained by clearly defined concepts; if anything, he's liberated by them, and this is some of his finest, widest-ranging music yet.

Tthis is a surprisingly listenable and emotive album, layering a wall of guitars, pounding drums, atmospheric textures, and a decent mix of bloody screaming and gang choruses.

Splazsh and R.I.P. remain Cunningham's most novel and creative full-lengths, but this thrill-filled one, whatever it's about, is his most direct.

It's a remarkably coherent and listenable album that goes down very smooth, but not without the occasional moment of real emotion or foot-tapping fun.

The juxtaposition of pretty janglers, moodily melancholy ballads, and tough rockers makes the album the richest Cairo Gang record to date. Credit to Segall for helping out, but Untouchable is Kelly's show and while it won't make anyone forget the Byrds or Love, any song from the album would sound pitch-perfect on a playlist next to either band's best work, and that's really saying something.

IV is strong stuff, but if you wonder if Part Chimp have lost their touch after half-a-decade out of the game, this music provides a conclusive answer: not even a tiny bit.

With one quick spin, it's clear that it was a move he needed to make and he did it with all the flair and style of a true sonic wizard. It was always a known factor that Lerche could write songs that could break a heart--and suddenly he can wrap them in sounds that will thrill and amaze.

Fully maintaining the trademark Gas sound while adding new dimensions, Narkopop couldn't be a more welcome return.

A worthy update of 7AM's tone poems, 8AM proves that seven years can feel like only an hour later when the music is this transporting.

Whether the duo plan to work this way in the future or not, 2016 Atomized documents a year when they successfully rebooted their sound and opened up their future to all kinds of possibilities.

A splendid work from a wildly underrated artist, Tara Jane O'Neil is an ideal album for the end of the day, or anytime you need to immerse yourself in something that's clear and beautiful.

The amiable quality of his lyrics and his enduring melodicism are in full effect on The Last Rider, which is notable in the Sexsmith canon for being the first record to employ his long-tenured touring band, a whip-smart quartet of tone-savvy sidemen who for many years have faithfully adapted the minute details of his many releases for the stage.

Most of the record's 11 songs are graced by provocative sounds lurking at the margins of the mix--something that sounds like a music box on "Halfway There," a saloon piano on "Rest of Me," all the compressed guitars as percussion--that help elevate this set of strong, sophisticated pop into something special.

Waiting a Lifetime is the end result of a lot of hard work, experimentation, and craft, yet it still sounds alive and full of emotion.

Feist has made her sex-and-death record, and in turn she has created her boldest statement yet. It's messy, confusing, thrilling, and of course, filled with pleasure.

The album seems pleasingly scattershot as it bounces from guest to guest.

On first glance, Gargoyle doesn't feel like an album full of surprises, but after the second or third spin, the fuller and bolder sound of the arrangements and production becomes clear, and it all serves Lanegan's talents in a way his last few Mark Lanegan Band albums have not.

Async is certainly not one of Sakamoto's most accessible albums, but if the listener is willing to devote several listens until it all makes sense, it ends up being quite powerful.

This set bears all the hallmarks of Stetson’s artistic singularity--athletic, circular breathing, polytonal and harmonic exploration, focused composition, vocalizing from the horn.

There isn't a hint of fussiness and the songs and the performances are so understated, they only seem richer with repeated spins.

Ultimately, with Still Life, Little Cub have managed to capture the '80s synth moment, bringing it to life with tactile, analog lyricism.

Though No Shape shows how much his music has expanded since the Learning days, it also proves he hasn't lost any of his ability to connect with listeners. Instead, it reveals him as a sonic adventurer and truth teller who's made some of his most compulsively listenable music.

Taken without context, Snow is a gorgeous collection of slow-burning, neatly groomed songs and perspectives, always introspective but never without joy. When viewed as another chapter in the ongoing lineage of the Kadane brothers, it takes on a deeper gravity.

Ranging from lo-fi rock epics to strummed acoustic numbers that blend lonesome rural tones with desperate suburban ennui, Everything So Far is a testament to a band that sounded original out of the gate.

In all, This Old Dog is a logical continuation of DeMarco's musical explorations, but the maturation of his songwriting is what gives it gravitas.

Hatfield is protesting Trump because he offends her personally, and the specificity of her outrage makes Pussycat an unusually powerful protest album.

Best Troubador does a splendid job of showing how right he is about Haggard and his songs, and you'd have to go back to 1994's splendid multi-artist disc Tulare Dust to hear as sincere and affecting a tribute to this most American of artists.

The 11-track set is loose, yet never directionless, with melodies that are less stately, though no less comforting than those found on the album's predecessor--Shelley's voice itself is a marvel of sonic palliation.

Simply put, For Crying Out Loud works because the band knows exactly what its listeners want.

As good as each of these songs is individually--and there isn't a bad song in the bunch--what's best about From a Room, Vol. 1 is how it holds together. There's no grand concept here: it's just a collection of good tunes, delivered simply and soulfully, and that's more than enough.

With all of his projects, Barnes continues to challenge himself and his audience, and Compassion's fascinating mix of power and atmosphere is the most finely honed version of Forest Swords yet.

[Halo] feels like a logical snapshot of her ongoing journey, presenting 12 new tracks that are as eccentric as they are inviting.

Verses certainly seems like a project that was labored over for such a long time, and it ends up being entirely worth it. It sounds seamless and organic, and avoids the novelty aspect of Jeff Mills' Blue Potential.

With existential lyrics about hardship and fate (including reference to his own successful cancer treatments following 2014's Gray Lodge Wisdom), the singer's calm delivery manages to convey gratitude, understanding, pain, and affection across the album and even within single songs.

The Silver Globe was Weaver's coming-out party; Modern Kosmology serves notice that she's here to stay.

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

After over 20 years of writing fine songs and making great records, John Darnielle and the Mountain Goats are actually getting better and more interesting, and Goths is a genuine triumph.

Penguin Cafe have created a charming world within The Imperfect Sea that gently seduces the listener through the restless and captivating collection of songs within it.

Throughout, though, the sound is so consistent, alluring, and distinctive that it's hard to believe that they have all three members contributing songs here.

Where 2013's Paramore found the group tentatively transitioning from their pop-punk roots toward a multi-layered '80s synth-pop sound, After Laughter reveals them having beautifully completed the transformation.

Keeping track of whether Logic's writing from his own or someone else's vantage can be a challenge, but one doesn't need to be that familiar with his work to realize that this contains some of his most personal rhymes.

Ali returns with All the Beauty in This Whole Life, a record that never shies away from facing injustice but focuses on a different aspect of activism: inner transformation. That's not a new age slogan but ancient wisdom carried from Tao to Gandhi to MLK; Ali brings it down the pipe with the hammer of compassion.

Some of these quieter moments can be sad, yet this album isn't depressing: it's hushed and moving, ultimately a comfort.

It's good that he decided to stretch his creative muscles a little on You're Welcome. It's even better that he came up with a smart and compulsively listenable update on the Wavves sound that kept all their rambunctious energy, but also added some fun tricks and treats.

Ultimately, while DREAMCAR's debut surely exists as a byproduct of No Doubt and Havok's various successes, the album stands on its own, magnified by each bandmember's most charismatic elements.

He may evoke old sounds but all his songs are about the present, and that means Manic Revelations isn't a stylistic exercise: it's compelling commentary.

The light touch Powell has with deeply felt emotions on this album is a rare combination that grows richer with each listen; she sounds older and wiser but also happier, suggesting that Life After Youth is just the beginning.

The result is striking, unlike anything Jessi Colter has ever released: it's hushed and haunting, an elegiac testimonial to the power of enduring faith.

It's a brief outing at just over 30 minutes with seven songs and a short instrumental interlude ("Inbetween"). Still, it has time to transport and make an impression, emotionally and sonically, traits that all of Sóley's work to date has in common.

He's far from catering to the mainstream here, but through it all, the wistful chords and progressions that are such a trademark of his sound act as a sonic through-line. Also uniting the album are immediate, conversational vocals and, similarly, an impression that accompaniment is gathered in a circle playing along by ear.

This is an utterly triumphant, uplifting album.

The album's potent mix of soul-searching lyrics and spaced-out sonics lends itself to deep thought and accompanied stargazing.

What makes these moody moments striking is that Weiner hasn't renounced the power of rock & roll, nor his penchant for mischief; he isn't trumpeting a new direction, he's adding dimension to a band that already offers more than its fair share of surprise and pleasure.

Shake the Shudder is the work of a band that know exactly what works for them, while still being willing to try new things. It's a winning combination of past, present, and future that bodes well for !!!'s future making plenty more great albums like it.

Clipper Ship feels like a standalone statement, one of powerful simplicity and masterful control. In stripping away almost everything, Toth's songs reveal cores of sometimes blinding beauty and unsettling honesty.

Ultimately, Parking Lot Symphony is one of Trombone Shorty's most balanced productions, equal parts New Orleans R&B sophistication and loose, block party fun.

Kids in the Street doesn't sound or feel like a masterpiece, but it does suggest Earle was aiming higher than expected for this album, and he hit the target--this is among his very best work to date.