Formal Growth in the Desert plays like another State of the Union essay from this band of intelligent malcontents, and what they have to say is strikingly effective as editorial commentary and as music.

Perennial is yet another step forward for Woods, a band that continues to get stronger as their music becomes gentler and more graceful.

Passing through the Valley of Abandoned Songs, it seems, is a little like visiting the Lost & Found, and there's definite value in these reclaimed works of art.

It can just as easily function as music for quiet reflection, nature exploration, travel, studying, or most other activities. II is their most distinctive, sophisticated, and emotionally rich work yet.

Nothing is overly ornate. For the most part, it's a lowrider delight, all the way down to the weeping "Rust and Steel," where Jones compares the end of a relationship to a vehicular breakdown.

Everest never strays far from the hard rock and heavy metal foundation that has propelled Halestorm to the upper echelons of the modern rock scene. Instead, it expands their sonic palette, proving that evolution doesn't have to mean compromise.

This doesn't sound much like anything Miller has released in the past, and that only adds to its power; this is a chronicle of a man pondering an uncertain future with both courage and trepidation, and A Lifetime of Riding by Night is the most powerful solo effort he's ever made.

The different textures and timbres at work on Emmaar reveal Tinariwen's evolution; one derived from the need to grow musically, as well as respond to adversity with creativity.

Snakes for the Divine is another physically punishing tour de force from a band whose fans will settle for nothing less, and have rarely been let down--certainly not this time around.

Hairless Toys [is] a welcome return and Murphy's most satisfying album yet.

Given the level of the performances, the majority of the guests evidently approached this as a Kendrick Lamar album, not as a soundtrack. Black Panther: The Album serves both purposes well.

It's clearly a challenging, confrontational album, but it also feels like the artist's purest expression yet.

A classically trained ivory tickler, Krug's compositional style is as esoteric as his prose, lending an unpredictable musicality to the proceedings that allows the listener to forget that they’re essentially listening in on a very intimate solo performance.

It's impressive stuff, and that it feels like the work of a much more seasoned crew of bandmates suggests that they had as much fun making it as the listener will have devouring it.

Total Freedom is aptly named, as these songs are the work of a songwriter who demands no more and no less; now more than ever, Kathleen Edwards is living and making music in a way that honors her own spirit, and it reminds us why you don't take the work of someone this talented for granted.

It's not easy to grasp at first, but it reveals van Dinther as a restless creative spirit, and seems to only hint at the directions his artistic career could take in the future.

It takes courage to make an album like La Vita Nuova, and it takes a rare talent to make it work, and this leaves no doubt Maria McKee has plenty of both.

Each song on Fetch feels so meticulous and so conscientiously crafted, it's hard to listen to it without arriving at a cliched but undeniable truism: good things come to those who wait.

In Between is usually quiet, but it's never cautious; this is very much the work of one of America's best and most venerable independent bands, and it confirms the Feelies are still a genuine creative force as they approach their 40th anniversary.

The world of Future is as wobbly and as wonderful as ever, and thanks to Honest, it just got grand.

If it's a relatively minor effort, it still sounds like the work of a major artist, and there's lots of pleasure to be found in it.

Think of A/B Til Infinity as a more mysterious version of the project's 2011 LP Bible Eyes, and all the meticulous production, overall album flow, and attractive song structure rules still apply, but this one can be parted out much easier, offering up about four 12"s worth of late-night dancefloor intoxication that are still rich enough tracks to hold up for headphone listening.

The making of Synesthetica was a big deal for Radiation City; the result is a big deal to those who like their modern pop smart, fun, and with just the right amount of modernity.

Their debut for the label, Patina, delivers another high-quality set of infectious, subtly varied, vintage indie/dream pop for tuneful ears and stirring souls.

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.

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.

The prevailing feeling throughout this album is that American Slang represents a more mature sound from the Gaslight Anthem, showing us a band that has grown up enough to start attempting to fill the shoes of their influences.

The times are always right for music as healing and calm as the Clientele's; the times surrounding the release of this wonderfully peaceful and uplifting album need it even more--and, thankfully, the band has responded with some of its best work ever.