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.

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.

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.

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.

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.

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

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.

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.

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

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.

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

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.

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

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

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

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.

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.

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

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

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.

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

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

This album is a trippy, spooky delight.

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

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.

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

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

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

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.

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.

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.

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.

On BLUE LIPS, Lo refines her unmistakable sounds and moods more satisfyingly than she did on Lady Wood, and transforms betrayal and denial into some of her finest songs.

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.

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

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.

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.

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

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.

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.

The energy level is high and restless, in a near-permanent state of agitation, heightened with machine beats that judder and bounce, synthesizers that plink and probe, and Williams' animated protestations. The rollicking temperament gives all the material, and that includes "Don't Don't Do It!," regarding the fatal police shooting of Keith Scott, a replayable quality.

Their fourth album of 2017 may not be their most exciting of the year, but it is their strongest and shows that King Gizzard don't need any bells and whistles to make a great psychedelic splash.

With an inspired guest list and excellent production, The Beautiful & Damned is a satisfying artistic accomplishment that cautions as much as it seduces.

These are complex songs worthy of a band as rich as the Turnpike Troubadours, and both Felker and his group are at a peak on A Long Way from Your Heart.

Even though some of the tracks are a bit slower and obviously produced while Thomas was ill and bed-ridden, they don't seem too sluggish or lazy for their own good. An easy success.

As a songwriter Garrie is the consummate craftsman, playing the everyman bard while Olson and Forester's production sets the stage without ever being cumbersome on this strong release.

Playful, fun, and steamy, Afternooners is another remarkable collection of obscure heat from the visionary artist.

With his often muted horn and inclination toward long, extended phrases, Scott feels as much like a vocalist as he does a trumpeter. It's a sound contrasted nicely by his bandmates Cook and Pinderhughes, who accent what are often purposefully pixelated grooves with soulful, harmonically nuanced improvisations.

It's an album that feels lived-in, filled with songs etched from hard-earned experiences with music to match.

Regardless of a stumble or two, Asking Alexandria is well worth a listen. While The Black was a passable offering at a time when it seemed like it would be a permanent arrangement, this reunion simply feels right.

Whether they're sophisticated or visceral, Shame's energy and confidence makes Songs of Praise an exciting debut from one of the most vital-sounding British rock bands of the late 2010s.

A vibrant album that explores the political and cultural tumult of the late 2010s with anthemic heft and individualistic perspectives.

The result is another eclectic, iconoclastic record that doesn't sound like anything else happening in the world. That the Go! Team can sound as fresh and inventive on Semicircle as they did when they started is an impressive, almost miraculous, feat that defies nature and defines triumphant joy.

Post- is actually a pretty wild ride. ... Perhaps surprisingly so, Post- is also one of his most accessible solo outings yet.

Ruins is never complacent, though, keeping its rough, rustic edges, and allowing for the sounds of fingers on frets on quieter tunes like "To Live a Life." Lyrics don't put on a false front, either, and that's ultimately what makes the album linger.

Traversing a wide range of moods and textures, World of the Waking State is a highly introspective work, perfectly suited for late nights spent lost in deep thoughts.

If he sometimes sounds like he leans too hard into his rasp, this vocal tic is mitigated by those songwriting skills and the supple sound of Cobb's production, elements that turn Encore into a minor gem.

While the album is integral to its predecessors as part of a loosely conceived and articulated musical trilogy, it stands on its own as an exercise in close listening, careful communication, and quiet revelation.

By turns gentle and bold, traditional and boundary-pushing, The Thread That Keeps Us is another fine example of Calexico's ever-broadening horizons.

While some older fans who haven't kept up with Buffy Sainte-Marie's work from 1992's Coincidence and Likely Stories onward might be surprised by the sound and spirit of Medicine Songs, this music leaves no doubt that she has no interest in aging gracefully; at 76, she's as fierce, aware, and committed as any artist a third her age, and these tunes speak to the madness of 2017 with a stunning clarity.

Earthtones is a refreshing, playful set that hits a sweet spot between classic smooth soul and Jurvanen's pensive soft rock.

This Is Glue ends up a clear improvement over the band's debut and something worth recommending to fans of classic jangle pop and anyone looking for some catchy indie rock to help them break free of all the bands that seem content to just cruise along in low gear.

Could It Be Different? is an exhilarating album that hits hard on the emotional front while making sure to move feet at the same time. It's a small step up from their previous works, with stronger sounding and with sharper hooks that help make it even clearer that the Spook School are one of the most exciting and important bands of their era.

Dream Wife have seized a certain energy that is undeniable and--despite the myriad inspirations and easy comparisons--feels so fresh and alive, enough to make their trailblazing influences proud.

More nuanced than previous releases but recognizably brand-related, Marble Skies is another win for Django Django.

While Cook's credentials are undeniably impeccable, they don't outshine her talent, and she just keeps getting better.

Much of the time, Freedom's Goblin plays like Ty Segall's version of the history of rock & roll as seen from his perspective, and it's as idiosyncratic and exciting as you would expect. It's also some of the very best music Segall has given us to date, essential for fans and strongly recommended to curious newcomers.

The Limiñanas sound like they're too cool and nonchalant to even have a phone, much less use one to make a less than great record.

Their new way of constructing songs and the more open nature of the sound have done nothing to blunt their emotional impact, and Microshift ends up being just as powerful and cathartic as previous works while being richer and more musically satisfying.

Walk Between Worlds offers further proof that Simple Minds can flaunt what they are because they finally understand just who they are.

Resolve is easily Ackroyd's most confident and mature statement. She remains devoted to lyric melody, but her re-combinations of sounds and textures inside these compositions are almost compulsively listenable, even as they move toward the undefined--and untamed--musical border she seeks.

The masterful way Wasser balances challenging moments like these with more familiar fare makes Damned Devotion one of the most complete, and daring, portraits of her artistry.

For an album whose lyrics often feel despondent, this record feels like a gracefully administered tonic.

Trinity Lane is honest, well-crafted, and hits an emotional bulls-eye: it's Lilly Hiatt's strongest and most moving work to date.

Themes of nourishment, transformation, and compassion thread through meandering and often lengthy tracks like "Kukkuripa," "Aery Thin," and "Gull Rock," the latter referring to the distant rock hulking out of the Celtic Sea's golden horizon on the album's cover. For their part, the five other members of Red River Dialect add their own distinctive voices to the conversation, swelling and jangling together in loose formation to create a musical landscape that, if photographed, might look very much like that sea-encircled rock, dark in its own solidarity among the sun-crested waves.

Full of heart, courage, and passion, Widdershins finds Grant-Lee Phillips going from strength to strength after The Narrows, and it ranks with his best solo efforts.

They're working on keeping the flame burning, and Black Coffee may be their most effective testament in that effort to date.

Twin Fantasy leaves no doubt that Toledo is a strikingly gifted and thoughtful songwriter who also has a firm grasp of how to make his material work in the studio, and isn't afraid to think on a grand scale.

There are no easy answers or happy endings here; as Vasquez grows more skilled at expressing his pain, he delivers his bleakest--and most cohesive--music yet.

Here her vocals are resoundingly clear, and her lyrics are sharp and direct, sometimes to a startling degree.

The songs are all about stressful experiences, conflicts, and struggles, and this uneasiness is felt throughout the record, but all of this cathartic energy is harnessed in a highly skillful manner. Messes almost seems too accomplished to be referred to as a debut album.

It is rich and gorgeous, elegant because of its exacting nature, an aesthetic that suits the film to a T.

On average, it's not one of Son Lux's catchier albums, but it is spellbinding, strange, and moving, and still as far away from expectations for a piano, guitar, and drums trio as any in existence.