Time Is Over One Day Old is a subtle and moody work that somehow manages to keep moving forward with a mechanical precision, giving one the otherworldly, but not at all unpleasant, feeling of standing still on a moving walkway.

Ultimately, while Lewis himself remains an enigma, the music on L'Amour offers us a fascinating glimpse of a long-forgotten Canadian pop auteur.

It's this kind of focus on the ennui, the mundane tragedy that permeates many people's daily lives, that works as creative fodder for Angus & Julia Stone. Ultimately, it's that ennui, combined with the pair's heartbreaking sense of melody, that makes this album a delightfully sad yet engaging listen.

Having the songs preserved on record undercuts that intention slightly but this is still an odd, delightful collection of tunes and it's nice that non-musicians--and listeners with an aversion to homemade YouTube renditions--get to hear these now too.

End Times Undone is a fine addition to a long career of near brilliant indie rock.

Sand+Silence shows Howard and Crisp are committed to keeping this band alive, and the album confirms they're still an uncommonly smart and talented indie pop band with a great deal to offer.

At this stage, Body Count haven't changed much, and really aren't likely to, which means that if you were on board with their earlier work, then Manslaughter has even more rap-influenced metal to fuel your rage. However, if you weren't sold on these guys in the first place, this album isn't likely to change your mind.

Yesterdays is a heartfelt memorial to a fallen comrade as well as a reminder that Pennywise remember their roots well, and haven't lost sight of the ideas and ideals that drove them.

While the music, all weepy pedal steel, soft piano, finger-picked electric and acoustic guitars, and on-the-nose handclaps, points to the West Coast, Johnson's lyrical tone is one of firm yet agreeable Midwest stoicism, all self-effacement, polite disagreement, and weary acceptance of one's place in the world.

Spider Bags didn't seem like a band that would welcome maturity, these songs show they're growing into it in their own slightly sloppy way.

For quite some time, it has been obvious that RX Bandits have wanted to be more than just a ska band, and on Gemini, Her Majesty, they appear to have evolved into something else altogether, and though some veteran fans might miss the old sound, there's no denying these guys have the chops to pull off this new and inventive approach.

Perhaps it'd be better to sample this ten-disc travelog in pieces--perhaps that's the only way to listen to a box as large as this--but each individual installment provides its own peculiar, satisfying pleasures and, when combined, all the discs paint a deep, detailed portrait of a rocker unlike any other.

The great tracks are incredible and the rest are not too bad, but Being is strong enough as a whole to offer hope that Mozart's Sister is a project still finding its voice, with even better work ahead.

McLagan's easy but powerful groove makes United States another satisfying episode in the life and career of a true rock & roll believer.

Cold World is an example of what Daptone and the retro-soul crowd are doing right, and it's an authoritative and affecting piece of work.

The members of Hooray for Earth are locked in with each other and offer up a riskier, more mind-expanding take on their formerly polite sound.

The story itself is compelling, but musically the album hovers somewhere between bland acoustic roots pop and overly earnest alt-rock.

It could be argued that Brooks trades intensity for pleasure on The Grand Tour, but as the album moves from dazzling to serene and back again, he sounds more assured than ever.

A deep, heady trip, No Time is a step forward for Soft Walls that builds on the debut's strengths and suggests even more potential for Reeves' future solo outings.

It's not the Scotland of Walker's shortbread and red-bearded pipers that so often gets shoveled out to tourists, but a moving portrait of strong-willed people enduring in times of change.

The Phantom Band's material is of a higher grade and their eclectic sonic blend only adds to this strength.

After eight albums that synthesize post-rock, home-listening electronica, and dub, the trio otherwise aren't up for much of a shakeup in their approach. None of the remaining seven instrumentals is novel, but they're all enjoyable on some level, cunningly shaped as ever.

It's a shame that such a vanguard effort is weakened by a few clever and jokey interludes that don't warrant a return, but that just leaves Shabazz Palaces room for a proper masterpiece as the brilliant Lese Majesty is so very close.

It's all perfectly pleasant and a convincing testament to what Clapton learned from Cale, although its silvery monochromatic shuffles suggest J.J. was a little more one-dimensional than he actually was.

Ultimately, with Chaidez in spotlight, Kitten is an album of swaggering dance club passion that aims to move your soul as much as it does your feet.

Joyce Manor make 20 minutes feel way more epic than the running time might promise, and Never Hungover Again ends up as the kind of record that feels like an instant classic.

This is a surprisingly, satisfyingly vigorous record.

On The Voyager, Lewis' characters live for today without ever thinking that the world might pass them by, and having her music flow so smooth and easy, she illustrates how easy it is to get sucked into that alluring stasis.

Whoop Dee Doo is the Muffs playing near the top of their game.

It's a nifty record: a double-edged throwback, evoking the singer/songwriters of the '60s but sounding like a different part of that decade, which is why its retro-ism winds up as invigorating.

Here we get her bright, puckered vocal attack showcased on a bevy of instantly infectious cuts.

Pick any track off The Golden Age of Glitter, drop it into the middle of the Dazed and Confused soundtrack, and not only would it fit, you'd probably turn it up. That's a serious compliment for this particular band.

This debut album is pretty good, and this band shows a lot of heart.

Such overwhelming softness means The Morning works best as mood music, setting the tone for either a lazy day in bed or a productive day at work, or any number of activities that take place during the hours of breaking dawn.

Overall, this is a generally charming debut with a very stylized sound and some solid material within.

If anything, Freeman is a tighter record than McCartney--it's not homemade, it's all complete songs--but there's no denying it shares the same spirit; that it is the sound of breaking dawn of a new day.

As a whole, Upright Behavior is a lot to digest, and whether or not listeners will find enough incentive to spend time cracking Landlady's code depends purely on their appetite for this type of challenging indie rock.

Counterfeit Blues is a rough-hewn, hardcore country revelation.

It might be easy to take The Raveonettes for granted, or to cast them aside in favor of the latest flavor of the month. Like the rest of their 2010s output, the strength and near-brilliance of Pe'ahi show clearly what a mistake it would be to do either of those things.

It's beautiful and thoughtful work from musicians who remind us art can be stark and simple and still find ways to charm and move the listener.

They are ruthlessly efficient, unmerciful, redundant, triumphant, and wholly invested in darkness, volume, destruction, and little else.

If there is a heaviness--an emotional weight that seems to be bearing down upon Christian and Anberlin throughout Lowborn--chalk it up to a band nearing the end of an almost 15-year career. However, despite this heaviness, Anberlin have crafted an album of deeply emotive and, one imagines for longtime fans, cathartic songs.

Musically, Charmer is a more polished and pop-oriented album than most of Tigers Jaw's previous work, but the core of their melodic style has changed little, and the moody urgency of the lyrics is as strong as ever.

The album is a lean, mean machine of singalong revolution songs and baggy jeans dance music from folks old enough to be wearing fitted by now, but the hunger to survive and flourish is as palpable as it was on their debut.

La Petite Mort is a quality release and a welcome return for a band that refuses to sit down.

As severe, wild, and dissonant as they can often be, Greys somehow manage not to take themselves so seriously, making If Anything an inviting debut full of character and some ferocious playing.

An equally strange and sexy debut, Zaba's most audacious moments suggest Glass Animals will be an even more compelling act next time around.

Wonders never cease on Mandatory Fun, and neither do the laughs.

They're more infatuated with Neu! and Kraftwerk or Public Image Ltd, but these jagged, difficult sounds are filtered through the trio's now instinctual arena-filling gestures and that tension is what gives Futurology a resonant richness.

There is a widening sense of exploration at work here; the considerable benefit of that aesthetic is clear even when it falls a tad short of the mark.

On Chroma, he's got enough lines in the water that he's bound to get a bite sooner or later.

PS I Love You have crafted an undeniably pop-centric slab of modern noise rock that gives a tip of the hat to manic confectioners of the past like The Pixies, Pavement, Weezer, and Jesus and Mary Chain, and that tour-T-shirt-and-empty-juice-box early- to mid-'90s vibe permeates the majority of the proceeding.

So basically, it's another weird, great White Fence album, only the bass is a little clearer, the drums a bit louder, and there's less tape hiss. Only die-hard four-track fanatics could complain about that.

The second half, where he traces his friendship with J Dilla, involves some brilliant storytelling, and perhaps the only moments during the album's sessions when Common cracked a smile while recording. It's a touching finish to the rapper's best album since Be.

With songs like this, Trouble in Paradise proves Jackson is still better than many of her contemporaries when it comes to making fizzy electro-pop.

Ultimately, it's those romantic details sung with sincerity and a dash of infectious, female-empowered punky 'tude that make All the Ways You Let Me Down work.

Real is a rare metalcore album with enough depth to demand repeat listening, which definitely won't disappoint the band's die-hard fans.

Noisy yet nuanced, Electric Brick Wall delivers some of the high points of Herrema's discography.

It boasts a refreshing and inclusive, old-fashioned '70s style prog-pop vibe.

Everything Infinite is an amazingly focused debut from a couple of guys who have already perfected their sound and give the impression that they could keep doing it for years to come.

Showcasing Cold Beat's versatility as well as its focus, Over Me lets listeners discover more each time they play it--which should be often.

Luluc's attention to detail and careful songcraft are apparent yet the music slides comfortably by, revealing its true depth with repeated listens.

Conversations ends up a fine debut from the band, tightly focused and carefully constructed but still filled with plenty of understated heart.

Complete Surrender shows that Taylor and Watson are willing to stretch out and continue their evolution as they deliver a strong third outing.

There's a shared past that's evident in every moment of this debut, and that natural, relaxed camaraderie is the reason why No Fools, No Fun is such an appealing listen.

This has the potential to serve as a good sampler for those interested in the ethnomusicological side of contemporary chamber music.

Black Market may not be the enraged political album that fans want, but it most definitely feels like the cathartic self-examination Rise Against needed, proving that a move doesn't have to be loud to be bold.

Alvvays find a way to articulate their heart-struck, dream-like songs with deft intention and control.

At once hookier and more abstract than some of X&O's previous albums, Par Avion is another subtle step forward for the duo that should please longtime fans and win new ones.

Yes! is not a record fueled by the heady rush of love at first sight; it's an album designed to soundtrack a long getaway weekend for a couple already in love.

No matter what he ends up doing, Strange Desire is a very strong, sometimes thrilling slice of modern nostalgia that gets better with every listen.

In theory, balance and restraint aren't the most exciting virtues for an album to possess, but in practice, Liminal's subtlety is confident and dynamic.

While there's a small but significant gap between Honeyblood's outstanding songs and the rest of the album, it's still a debut full of moments of depth and moments of instant gratification--as well as lots of potential.

Some Reigning Sound fans might miss the harder-rocking side of the band, but if you're looking for ten new Greg Cartwright songs sung with real heart and soul, Shattered is just what you've been waiting for.

The details of bandmember identities and backgrounds quickly become extraneous in light of the wealth of intriguing sounds presented on this incredibly well-constructed debut.

Morrissey isn't living up to what he should do, he's doing whatever he wants to, whether it makes sense or not. That fearlessness may be reckless but it's also welcome.

With over a decade of releases to his credit, Elbogen continues to carve out his own distinct world that combines a smart wit, a strong will, and some solid pop songwriting.

Dawn Golden merges crushing emotional currents with innovative production for a debut that's bold and crisp, if somewhat harrowing in its darkest moments.

The duo don't put a wrong foot forward, and they've made an album which creates that kind of mood perfectly, which isn't easy to do, and making for an even more impressive debut, it's their first attempt.

The patient melodies and glowing sonic architecture of these lovingly crafted tunes manage to weave their way into the listener's subconscious, coming on with a deceptive lightness but leaving deep impressions.

As always, L'Aventura is rife with touches that knowledgeable listeners will appreciate, but anyone with a fondness for smoothly retro mood music with lots of personality will find a lot to enjoy.

Family Crimes sees Skygreen Leopards light years away from the experimental, communal folk sounds that they were drawn to in their earliest days, but still retains the same distant dreaminess, though it's more dedicated to melody than any other chapter of the band's epic, shifting discography.

The result of hearing Ishi in full is a desolate, somewhat submerged feeling, with both the sounds of space travel and the light years of loneliness and isolation coming through in the album's many layers of gentle noise and spiraling synth leads.

Tales of CSNY acrimony are legend, but this rancor rarely surfaced on record. Here, those brawling egos are pushed to the forefront, with all the pretty harmonies operating as an accent to the main event.

Fans of cool, retro-minded indie pop will embrace integrating this set into their playlists for the warmer months and beyond.

This is a debut by default and not an all-encompassing coming out party, but Skull and Popcaan are simpatico on Where We Come From, so love it for what it is.

All the new bits here and there, and the slightly altered course, help to make Paperback Ghosts the most accessible Comet Gain record yet, without compromising any of the burning passion that has made them so important to their loyal fans.

The band does everything right on Wooden Head, from songs to sound, and while Hoare probably shouldn't quit his day job, if he and Claps keep making records as good as this he might seriously consider it.

Can't Love is a promising debut that suggests any number of directions for Stanton and company.

As a whole, Model of You shows a marked improvement from their debut and a distinct line of evolution, which is tough to pull off in such a short gap between releases.

Ultimately, NoNoNo have a good feel for the past, but an even better feel for the present.

Redeemer of Souls is also the loosest (attitude-wise), leanest (arrangement-wise), and most confident-sounding collection of new material the band has released in ages, and while it will forever tread beneath high-water marks like British Steel and Sad Wings of Destiny, it most certainly deserves to be ranked alongside albums from that era.

Braid continue their story here, branching out in new directions and leaving room to wonder what comes next.

This album presents a more pronounced sense of drama from the progressive aspect of analog electronic exploration, and delivers compelling yet open-ended compositions. To that end, it is nearly sublime.

To say it's her most accessible album yet doesn't diminish it or her previous albums; instead, it's the sound of Furler owning her success.

Take Me for a Walk in the Morning Dew is a triumphant comeback album, updating older tunes with a modernized production and new tunes showcasing Dobson's voice.

On Terms of my Surrender, Hiatt has the blues, and he's got the goods, and this is another solid chapter in a recording career that's drifted into an unexpected but pleasing renaissance.

Ultimately, 5 Seconds of Summer have crafted an album of songs that stick in your head like neon bubblegum on a hot summer sidewalk.