It's a lovely record with a lot of personality and passion that showcases a rarely heard instrumental combo.

Educational and emotional in a uniquely approachable way, these songs are a lovely part of a bigger picture.

The Snowblink singer has a captivating appeal that is hers alone. And when you combine that with a gift for poetic lyrics full of such evocative phrases as "I'll put a bullhorn to the mouth of your ghost" ("Heckling the Afterglow"), you've got something substantial on your hands.

Despite the amount of new material, some of which is not up to par with the earlier smashes and certain album cuts, this is a handy sampling of Girls Aloud's biggest moments.

Oh, Mayhem! won't make anyone forget Palomine, but it is an amazingly strong album that shows they have plenty of life left in them. And truth be told, this isn’t really that far off from Palomine.

Young always seemed a shade too earnest on his earlier records so this unabashed embrace of country-pop--one that wasn't necessarily pushed on him, based on the six co-writes he has here, almost all of them among the poppier material--is at first a little startling but it winds up being the right direction for an artist whose greatest asset has always been his inherent likeability.

This is a gratifying second step from one of the most exciting contemporary R&B artists to appear during the 2010s.

Creed's commitment to Chrome's vision is as strong as ever, and the results will put a demented grin on the face of longtime fans.

There is a warmth, joyfulness, and sly humor to Bahamas' sound here that keeps you listening even when Jurvanen turns toward melancholy sentiments, as he often does.

The lack of urgency is also welcome, with Alternative Light Source slowly unfurling as the most natural and comfortable Leftfield album to date.

Tamia does not to attempt to hit those high notes that Williams and few others have been able to reach, but she gets the feeling across. It's a fine finish to her best album yet.

Everybody Is Going to Heaven is a bold statement full of creative ideas, but it's not without its growing pains.

Martha may be saddled with a name that doesn't exactly imply excitement, but one quick spin through Blisters is enough to dispel any doubts as feet start to move, pulses begin to race, and the part of the brain that compels one to sing along is stimulated in a big way.

For all its emphasis on the past, Stripped sounds like a step forward.

The duo's love of huge, fuzzy guitars hasn't dimmed and anyone who shares that love will find Balance to be something pretty special. So will lovers of psychedelic music, fans of dream pop, shoegaze aficionados, and people who want music that will remind them of the past, but take them somewhere new.

Harvey sends off his final Gainsbourg project with the same spirit he introduced it with: savvy, humor, and an illuminating musical and literary spirit that defies anyone to follow him. Ultimately, it's perhaps the only kind of tribute Gainsbourg could--or would--accept.

The album's deliberately murky tone (courtesy of Taylor Goldsmith and Jim James) doesn't always help, but in spite of its sometimes gimmicky tone, Sweet Creep is evidence that Jonny Fritz is a genuine talent and a first-rate songwriter, and with luck, he'll let his guard down some time and let us hear him without his persona getting in the way.

It's one of the best records of their long run, and if Stewart and company keep making them this good, this real and this emotionally fulfilling, one can only hope they keep doing it forever.

The Rise of Chaos manages to entertain, and that the album does so with such gusto is the mark of a band with more than a little fight left in it.

Small Town is an excellent showcase for this duo; here's hoping it's only a first volley.

What makes the record so satisfying is how Millsap winds up fusing this thoroughly Southern sound with his literate, folky storytelling, which means that Other Arrangements is vibrant and alive even when he's evoking styles that have been around for ages.

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.

The set provides both reliably dreamy background grooves and, for the more attentive listener, frequent moments of discovery, making it seem more cutting edge than throwback despite its main inspirations.

Though it's unlike anything he has attempted before, the ambitious sounds of Tracing Back the Radiance still bear the distinctive stamp of his artistry, one that feels restless, nostalgic, and quietly hopeful regardless of the form it takes.

Ultimately, four albums in, Spook the Herd proves Lanterns on the Lake to be one of the most consistent acts in the business.

By adding these new sounds, the Cadillac Three seem younger and savvier, playing country-fried rock & roll for every imaginable creed, knowing that the best parties are the ones where everybody is invited.

City Burials is not a reinvention, but it does contain periodic re-engagement with the steely dynamics of heavy metal. Renkse's excellent songwriting, coupled with his best overall viocal performance, serve to energize Katatonia, who remain vitally creative in their third decade.

Fake's music has always been highly inventive and emotion-rich, but this is the most urgent and vital it's ever felt.