It has a similarly big-screen and disparate, primarily beat-less approach to ambient music [as 2016's Under The Sun]. Each track evokes a distinct scene.

It's a tight, sometimes bombastic, sometimes sweet mix of old-school hard, prog, and psych rock with a shot of indie-era slacker keeping it all grounded--at least for the most part.

On-stage, these same songs straighten themselves out and, in the process, get a touch lighter. On Tonight's the Night, it often appeared as if Young and his crew learned the songs as they recorded them, but on Roxy, the Santa Monica Flyers have the changes under their belts and are really in the mood to have a good time.

He constructs ten sturdy songs that give Mr. Jukebox the foundation to be something more than nostalgia. By exceeding so well in his craft, Hedley makes the old sounds feel new again.

The Tree of Forgiveness is autumnal John Prine, but it's also a potent reminder that his remarkable skills as a songwriter and his rough-hewn excellence as a singer haven't failed him yet.

Nostalgic Butthole Surfers fans will find plenty to like on Pinkus Abortion Technician, but they're hardly the only ones.

Hardly a late-career masterpiece, Evil Spirits at least shows that the Damned are still smart and witty while paying attention to the global chaos of the era of Brexit and Trump, and they haven't lost their touch in the recording studio.

Among Ras G's more contemplative releases, Stargate Music is a woozy, enticing interpretation of the human life cycle.

As odd Neil Young albums go, Paradox doesn't hold a candle to Americana or A Letter Home, but this could have been trimmed down to an EP and it would have worked better. Fans will want to give it a listen, but they might not pull it off the shelf again for a while.

Personne d'Autre finds Hardy in full command of her authority as a songwriter and, despite her voice's wear and tear, the full weight and charm of her signature as a singer. If this is indeed her final recording, it's one she can be proud of and one for fans to celebrate.

No longer able to croon as he once did, Nelson opts for playing around with the rhythms of his delivery, a move that makes him seem limber, adding a sense of vitality to Last Man Standing. Willie realizes he's not going to be here forever but he's made up his mind to make the most of his time here, and that's why Last Man Standing feels richer than so many self-conscious meditations on mortality.

Hatfield is a sharp record-maker, understanding when to let harmonies pile up and when to let analog keyboards set the tone, a gift that turns Juliana Hatfield Sings Olivia Newton-John into a sumptuous aural pleasure. The album is also compelling as a testament to the power of fandom, illustrating how this kind of love is sustaining and creatively nourishing.

A consistently winning album, Primal Heart finds Kimbra hitting the sweet spot between imagination and accessibility--if her nods to the mainstream get more ears pointed her way, so much the better.

Sparrow is sharply constructed as an album, setting a mood with its first song and then finding variations on this lush, enveloping sound. It's a record designed for late nights, whether those nights are lonely or romantic.

Sonder is a logical next step for TesseracT, one that stands on par with anything they've previously released, yet evidences more authority, musical restlessness, and sonic multi-dimensionality than anything in their previous catalog.

Like Hermits on Holiday, it's first-rate experimental rock made by two musicians with interesting, complicated ideas and the skills to bring them to life.

Nothing here is particularly outside the wheelhouse of Old Crow Medicine Show, but the songs are finely etched and the performances vivid, elements that separate Volunteer from its predecessors. Here, Old Crow Medicine Show feel focused and fully realized, as if they're just hitting their stride after two decades in the business.

Shaggy and Sting might not first appear to be an ideal match, but they're both rooted in reggae and are both international stars, so they share a vernacular that helps turn 44/876 into a surprisingly enjoyable pan-international pop album.

The National Jazz Trio's style can seem too sparse and basic to make an impression at first, but their approach exposes genuine emotions, and it's unconventional enough to elude easy comparison.

It's a more thoughtful, philosophical King Tuff, for certain, but The Other is far from a downer, with Thomas' individuality and catchy pop sensibilities still intact.

There's just enough looseness in these performances to honor the punk side of their personality, but LiE finds them rocking as hard and as confidently as they did in their heyday, if not more so.

Black balances his pop leanings and prog inclinations well throughout the record, never tipping too far in one direction or the other, and always making music that is pleasing to both the part of the brain that wants to think and the part that wants to feel.

The album covers a lot of ground, switching between abstract interpretations of plush soul to dark, nervy club music from track to track, and the group maintains its focus throughout, resulting in a rich, engrossing experience.

Each song a wildly different part of the whole, yet unmistakably belonging to the same powerful beast. It's a cohesive and bold statement from A Perfect Circle, a triumphant comeback after too much time away.

It may be premature to lump Say Sue Me in with such legendary acts [as Pale Saints, Slowdive, Black Tambourine], but Where We Were Together is so undeniably good it's hard not to do just that.

By grounding it so heavily in the metal that served Spinal Tap so well, Shearer turns Smalls Change into a bit of a grueling hourlong experience--there may be the occasional taste of prog pomp or a Richard Thompson cameo, but it's all in the context of hard rock--but listened to as a series of EPs, the craft behind its silliness shines through and it's quite palatable. Which makes it not all that different from a John Entwistle album.

In short, the Messthetics are not Fugazi, but they are a bold, bracing, fearless band from Washington, D.C. playing music that challenges and dazzles, and that's more than enough reason to make their debut album worth your time.

The album is still a whole lot of fun, filled with the childlike sense of wonder common to much of Paradinas' best work. The late '90s were clearly a magical era for him, and Challenge Me Foolish is just as essential as any of his other releases of material from that period.