That Tanukichan have come up with an album that sounds original and true while bringing deep emotions along for the ride is truly something worth commending.

Thanks to its wandering nature, Cloud Corner is the kind of album that benefits from repeat listens, unspooling, shifting, and then settling a little more with each meditative revolution.

Subtlety is the strength of The Tree: it can be heard as soothing, healing music, but its real rewards reveal themselves through close listening.

Family Portrait is an uncommonly original album, keeping listeners guessing while making a significant, sometimes unexpected emotional impact.

His harmonic components (his solos, chord voicings, and overall soundscapes) are all improvised and worked out in the studio. Ultimately, what could sound like average contemporary jazz fluff, in Kiefer's hands sounds instead like the liquid dreams of jazz-funk aliens.

Winslow-King's accompanists on Blue Mesa deliver strong work that complements the songs beautifully, especially guitarist Roberto Luti, keyboard man Mike Lynch, and drummer Chris Davis. Blue Mesa may find Luke Winslow-King going through some changes, but the result is some of his very best music to date.

The Public Image Is Rotten presents a thorough and uncompromised portrait of Lydon's work with PiL, and anyone interested in the many contexts he's created for his unique vision will find plenty to take in.

It may lack some of the bite of his best work with his previous project Ovens and his early solo releases, but it's nice to follow his career as he grows and experiments (gently) with new sounds and a new-ish approach, while still delivering songs that are super-hooky and flat-out nice to listen to.

The feelings of yearning, sadness, and grief expressed through these songs aren't beholden to any genre or time period, and the album sounds fresh and poignant regardless of when its songs were written or recorded. Gate of Grief easily fulfills the promise of White Ring's earlier efforts.

Here, he winds up finding depth within his signature mellow good times, and the result is one of Chesney's best records: it goes down smooth yet lingers in the memory long after its gone.

Qualm generally shifts away from the Drexciyan melodies of Discreet Desires, but it's just as precisely focused as that album, and anyone who has enjoyed her prior recordings or Hauff's unrelenting DJ sets should enjoy this one as well.

Among the Ghosts demonstrates how smart and versatile these guys can be; it's a brave and satisfying set that finds beauty and meaning in the valleys on the human experience.

Physical provides ample proof that he can take the skills he's honed with that group [Factory Floor] in entertainingly different directions.

Despite his busy release schedule, Jim Lauderdale seems incapable of making an album that isn't heartfelt, well crafted, and thoroughly engaging, and Time Flies is further proof that he's making some of the best country music in the 2010s.

Combined with a higher level of musicality kept in check with a greater sense of nuance, The Nature of Imitation is Johnson's most accomplished and enjoyable album.

Someday Everything Will Be Fine is an object lesson in how maturity and progress don't have to be the enemies of snarky, passionate rock & roll, and this is music that satisfies on several levels at once.

The modulation and echo treatments on the vocals, combined with the frequently torpid tempos, nonetheless make Astroworld ideal for being pumped through an (18 and over) amusement park's sound system near closing time, when the challenge of hitting all the rides has started to turn into an overindulgent, overheated chore.

With his laid-back charm, wit, and earthy sincerity, Baxter has shown his acumen for quality songcraft before, but on Wide Awake, he ties it up in one wholly engaging package.

The album's vérité feel draws listeners into its ever-changing moods so completely, it's almost a shock when it ends. It's this skill at hypnotizing and disarming her audience that makes Devotion such a captivating reintroduction to Tirzah.

Gulp show that they aren't just masters of cheerful avant pop; they can do other things at a high skill level, too. It makes for a well-balanced listening experience that fans of Broadcast or any of the other bands mentioned above would certainly find right up their alley.

The album plays like a greatest-hits collection, and since it doesn't seem to cater to a musical or emotional middle ground, it makes for a guilt-free pleasure.

While the emotions expressed on Coup de Grace often have a literate, philosophical complexity, the music crackles with a bright, youthful immediacy.

They may have done some drastic reshuffling and tried some new things on Move Through the Dawn, but it's a Coral record at its core and it's one of their most satisfying, too.

Outsiders has a strong foundation but sounds effervescent, a combination that frequently results in giddy, intoxicating pop, which is what this album is.

Linda Gail Lewis may share top billing on Wild! Wild! Wild! with Robbie Fulks, but she's not playing second fiddle to anyone; they both deliver the goods here, and if you don't believe a 71-year-old woman can make a great rock & roll record, this album will show just how wrong you are.

There's a good chance we're going to get a full-on rock album from Jennings now that he's gotten this out of his system, but as an expression of his country soul, Shooter ranks with his best work to date.

While much of his work seems deliberately, painstakingly crafted, there's still a fluidity and a sense of being guided by subconscious forces.

With Animals is the work of two men with great talent embracing what they do best, and with their skills elevating their work to a new level; this is collaboration between musical peers at its best.

For Interpol, embracing their veteran status doesn't mean a slide into complacency; if anything, it's the opposite. Marauder doesn't need to be qualified in terms of the band's former successes--on its own terms, it's one of the richest albums of Interpol's career.

Equal parts mesmerizing and challenging, Rockhounds has a truly unique allure.

Because of its variety of rhythms, infectious energy, and limited track lengths, Angry Cyclist's thirteen tracks go by quickly. That, taken together with lyrics that are both playful and pointed, consistently strong melodies, and exuberant performances make it the type of album that would fun see performed live in full, and one of their best.

His most refined batch of animated pop yet. He triangulates somewhere between Ben Folds and Charlie Puth, albeit with eccentricity to spare and a better feel for the funk than either musician.

At less than 32 minutes, Back Being Blue doesn't last long enough to wear out its welcome, but it could run twice as long and still be a treat; it's an easygoing but richly satisfying release from an artist who shares her talents all too rarely.

Out of the Blues may be an excellent final chapter in this roots trilogy, but stands on its own as one of Scaggs' most sure-footed releases.

An album that coheres in a way other Ariana Grande albums don't, which means Sweetener is something of a double triumph: she's come through a tough time stronger and better than before.

Once the shock of the bigger, bolder sound fades, Chains Are Broken reveals itself as a perhaps inevitable maturation for the Devil Makes Three, one that broadens their horizons while retaining their vigor, humor, and heart.

It's too bad more personal tragedy is what it took to right the ship, but Nothing's third album is a worthy successor to their great debut.

Maintaining a healthy balance of sunshine and rain, Don't Look Away is the best example yet of Tucker's singular approach to music.

The Necks move incrementally forward in their quest for the musical unknown on Body; it displays all their creative strengths in a single typically engrossing work.

Exploring both their known, time-honored chemistry and new inspirations, the vibe that stretches across Songs You Make at Night feels positive and renewed. Always caught in a dream, this is one of the brighter and more hopeful dreamscapes in the Tunng catalog.

This is music made from a band that has been through the wringer and is happy to settle down and play, and there's an undeniable appeal to that open heart, particularly when it's camouflaged underneath such nominally heavy music.

Ohmme are clearly not adverse to inspired noise, but they know how to put it in a context where it doesn't grate so much as it adds zest, like a good pepper sauce, and on Parts they've made an album that's smart, sweet, and full of potent flavor.

Hunter is the record where, more than any other, Calvi's talents have fully crystallized. The true character of her music has been unleashed and will likely see all those PJ Harvey comparisons finally fade, eclipsed by the radiance of this tough yet open-hearted work.

Indigo is another block in the impressive body of work Tatum has built over the decade, and it's some of the best retro '80s (but not stuck in the past) music anyone is making in the 2010s.

Dissolution is the album The Pineapple Thief have been promising since 2012's All the Wars: it's poetic, erudite, emotionally powerful, and chock-full of musical imagination.

At a taut ten tracks, Bloom is an unambiguous statement from Sivan, clear in its intent to celebrate the highs and lows of queer love through the eyes of a proud pop star in the making.

KEN mode are masters of their craft, and this is easily the equal of anything from the heyday of the genre on labels like AmRep and Hydra Head. While the more casual listener will find this heavy going, fans of the band, and of noise rock in general, are going to be stoked.

In full, And Nothing Hurt stands alongside the very best outings on the Spiritualized shelf. Its finest moments are consequently its most tender, revealing how much Pierce has grown as a writer. If he continues to record, this will be the album that opens a vibrant new chapter in the saga of Spiritualized.

Landes is ready and willing to create her own spin on classic country, winding up with a generous and clever gem.

Carefully considered and uniquely transportive, The Giant Who Ate Himself is yet another sterling example of Jones' guitar mastery.

The album is their most sonically focused statement yet, primarily consisting of lengthy dirges with up-front growled lyrics that challenge concepts of ego and identity.

Menace Beach have shown a lot of creative growth in their relatively short existence, constantly homing in on their essential elements and discarding the rest with each new release.

The amplification of their strengths as a group and the new avenues they travel make this the TERRY album that rewards a deep listen most.

50 years on from Fairport Convention's debut LP, 13 Rivers is striking music from a musician who remains fresh, contemporary, and peerless.

A major step up from their earlier material, Kingdoms in Colour is where Maribou State truly come into their own.

It's a powerful chapter in Bachmann's expansive discography, and while it might require a closer listen than some of his earlier material, the rewards are as fulfilling and slow burning as the songs themselves.

More than just a worthy successor to Upstepping, Shelley's on Zenn-La reconfigures both modern classical and electronic dance music, producing a wholly original work which knows no boundaries.

Deaths is a seriously fiery album that pushes the temperature right to the point of flammability and further cements the band's place as one of the best noise bands of their era.

Book of Bad Decisions is an excellent late-era entry into the band's vast catalog, a natural product of their enduring chemistry and dedication to their legion of fans.

Kravitz knows how to sculpt not just sounds but a cohesive LP, and that kind of pro assurance when combined with his earnest hippie beliefs, make Raise Vibration a sunny, affirming listen.

A relentless return to form, This Behavior finds Adult. at their most forceful and consistent as they enter their third decade.

Teleman prove that following their bliss is more important to them than more predictable markers of success, and it's hard to hear Family of Aliens as anything other than a soft-spoken declaration of independence.

All the strings and brass not only accentuate the songs, highlighting the jazzy changes of "Soul Searchers" or the light swing of "Gravity," they help frame this measured song cycle, directing attention to how Weller isn't wallowing, he's meditating upon love, loss, and hope as he enters his sixties.

For Ever's complex blend of bare emotions and gorgeous production makes it a huge step forward for Jungle. A band this successful could have left their private lives uninvestigated and turned in something more guarded and rote, but the palpable honesty of these songs is what makes them soar.

With The Crossing, Escovedo had put a new and compelling spin on the oft-told tale of the American dream as seen both from a distance and up close. In his hands, this story is both timeless and as up to date as the latest news bulletin, and it connects as great music and outstanding storytelling delivered by an artist who has a unique talent for both.

It's a great combination of sound and songs that makes good on the promise the band showed on their debut, and shows them navigating the numerous pitfalls of growing up as a band in fine fashion.

Collapse ends up being one of Aphex's stronger post-2000 releases.

While Emanon's suite may take some getting used to, it is a profoundly imaginative work; the quartet concert offers a killer portrait a group whose M.O. is pushing at the margins until they give way to something altogether new.

Days after the album was released, she turned 27, yet she already sounds like a seasoned professional, and the immaculately crafted Room 25 is highly mature and immensely enjoyable. Simply remarkable.

As wacky as their previous efforts but driven by a greater purpose, Twisted Crystal finds Guerilla Toss hitting a new high.

On Dark Horses is a far more collaborative affair, and while it still looks inward, it does so with the kind of steely warmth that can only come from somebody who has seen the light at the end of the tunnel as clearly as they've seen the oncoming train.

Redemption resonates because it's simultaneously Bonamassa's most ambitious album and his most impassioned record.

America's Child doesn't simply address the tumult in 2018 America, it stands as a vital statement of purpose from a modern blues singer who is beginning to hit her stride.

Under the guidance of Lee's gentle melodies and calming voice, all the songs mesh together, though, only slightly shifting, like an afternoon under a late-summer sun.

Some of the band's most entertaining and most challenging music, >>>'s eclectic experiments prove that the greater-than symbol at the end of Beak>'s name isn't just for show--they keep pushing forward, and it's thrilling to go along on the ride with them.

The perpetually unraveling nature of Infinite Moment results in a perfectly paced listening experience that's almost impossible not to get lost in.

Incorporating varied delivery and production, TA13OO taps into his established style, which combines aggressive trap with rapid-fire bars ("Sumo," "Super Saiyan Superman"), while also adding smoothed-out hip-hop atmosphere and patient vocal restraint ("Sirens," "Cash Maniac"), which was only hinted at on Imperial's throwback gem "Zenith." TA13OO is split into three sections--Light, Gray, and Dark--and delves into introspective self-examination and unflinching social commentary that tackles politics, sexual abuse, and mental health.

As fine as Didn't It Rain was, This Too Shall Light better illustrates the diversity and power of Helm's abundant talent.

Unlike latter-day ZZ Top records, which are occasionally weighed down by the band's considerable legacy, Big Bad Blues feels light and free, an album that was made because Gibbons wanted to have some fun and that feeling is not only palpable, it's infectious.

This three track set is a casebook on the nature of true collaboration; everyone here places himself at the service of music made in the moment from mutally assured trust and goodwill; it sparks creation at every turn. God knows we need more albums like this. what an unexpected pleasure.

Metric synthesize the stadium rock of Fantasies, the moody hookiness of Pagans in Vegas, and the new wave spunkiness of their early albums into something that's recognizably their own, instantly memorable and one of their best overall albums yet.

MITH is the most powerful album yet from a truly inspirational artist who deserves to be acknowledged as a national treasure.

The songs are definitely there, Phillipps' wonderfully light vocals are as strong as ever, and the sound is a perfect example of how to make a record that sounds as big as a stadium while still being driven by real emotion.

Very much a product of their time, Brockhampton absorbs what they need from across genres, sharing honest confessions from their varied personal backgrounds (the most striking provided by group leader Kevin Abstract) and reflecting its mixed audience as a voice of their generation. Brockhampton have seized upon this defining moment with Iridescence, a defining peak in their young career.

Altogether, The Hex is a complicated record of a period fraught with loss and psychic struggle for Swift, and its beautiful, twisted lyricism and memorably stylized sound rise to the occasion.

Simply put, (After) is another brave and beautiful document tracing how Elverum's sorrow and love continue to change shape.

Come for the rage on Digital Garbage and stay for the rock. Both feel intense and purifying.

Konoyo takes several listens to fully appreciate, as do most Hecker releases, but it's another excellent example of the distinct mixture of bleakness and majesty which he excels at creating.

While For My Crimes contains her unmistakable signature in both songwriting and sound, as a whole it point to an open door for new possibilities to emerge in the future. It's sophisticated and emotionally arresting, it's among the finest offerings in her catalog.

Quiet River of Dust feels like its own celestial event, emitting frequencies both familiar and alien; Eastern philosophy-tinged pagan space folk devoted to gods both old and new.

Autobiography is unquestionably a vast step forward for Jlin, further confirming her status as a visionary artist. If it wasn't obvious already, following her long, illustrious career will be tremendously exciting.

The Wake signals a new chapter for Voivod; they stand (again) at the blade edge of creative imagination and visionary execution in the world of extreme music.

At once more deliberate and more liberated than their debut, with Obey Exploded View challenge their listeners to be as free as as their music sounds.

This is hardly the last word on Joe Strummer's music outside the Clash, but Joe Strummer 001 should convince any doubters that the man never stopped being a talent to be reckoned with, regardless of the size of his audience.

It's probably premature to call Dose Your Dreams Fucked Up's masterpiece, but most bands would be very lucky to make something this daring and accomplished once in their careers, let alone twice.

Across the record, Lenker covers big emotions and small moments, noticing horse tails, eyelashes, and silences. The immediacy of the performances has the effect of eavesdropping on a late-night living room lament.

Continuing in the direction of Fred Thomas' previous two albums, the equally outstanding All Are Saved and Changer, Aftering is filled with vivid descriptions of particular moments from throughout the prolific songwriter's life, as well as more general encapsulations of the bleak, uncertain feelings clouding the landscape of late-2010s America.

This return to the Amory Wars concept is welcome. Even the few seemingly out of place moments are deliberate diversions to reward longtime fans. That said, in an era of renewed appreciation for prog metal in general, this offering should draw legions of new listeners.