Veirs may not be the most commanding presence, but she more than held her own against the sizable personalities of Case and lang, and she imbues The Lookout with that same quiet confidence, deftly weaving richly detailed, forward-thinking confections out of confessional singer/songwriter tropes.

This seamless blend of aesthetics is also why Resistance Is Futile works musically. First, it comes on strong-all sharp edges and gleam-but once the blare fades, the melodies and their accompanying sweetness lingers, leaving a lasting impression behind.

Pearson's point has been made: he's upended the high expectations his 2011 album set, no longer seeming like a soul-baring troubadour. Whether that was worth a seven year wait, only fans can decide.

Equally raw and sleek, Pinned is one of the band's most cohesive albums--even if change is a constant in A Place to Bury Strangers' world, so is the quality of their music.

Nothing here is bound to pass "2 On" in terms of popularity, but the highlights are filled with rich details and seductive hooks, heard at full power on the slow jams "He Don't Want It" and "No Contest." The smoldering, slightly bluesy "Salt" and sweetly aching piano ballad "Fires and Flames"--two additional highlights--invalidate all claims that Tinashe is one-dimensional.

Adult Fear is their third impressive album in a row, one that's essential to hear for anyone who likes hazy, trippy, and unassumingly captivating psychedelia.

Significantly less danceable than some of the artist's other albums, the album simultaneously feels more introverted and more expansive.

The overall production aesthetic is slick and appealingly moody, with the hint of a smile to reveal just how much fun Rouse is having dabbling in this sonic milieu. It's a welcome break after the heaviness of his previous outing and, with his smart pop songwriting and clear vocal delivery, the veteran singer takes quite easily to the role of new romantic bard.

Undying Color was clearly the beginning of a new phase for Mind Over Mirrors, but its follow-up feels more complete, and hopefully anticipates something even more dazzling.

The result is a splendid little record that simultaneously feels brand new and like a lost gem.

Cocoa Sugar mystifies before it gratifies, but it reflects a modern global chaos as much as it does a personal one.

The forceful sound of Girl Going Nowhere may camouflage the subtleties of her songwriting, but it's also an asset, as the production, along with her powerhouse voice, demand attention.

For the most part, the album sounds bright and energetic rather than dark and gloomy, but there's still an undercurrent of sadness to some of the lyrics, such as the heartbroken lament "Gold Star." Even still, this doesn't detract from the ecstatic spirit of the album, which is refreshingly creative and unpredictable.

12 proves that they refuse to simply tread water, and it's smart, heartfelt music from an uncommonly great band. If only more people outside of Canada knew just how good they are.

The album feels open-hearted and mischievous, a combination that is disarming upon the first listen and nourishing upon subsequent plays.

Johnny Cash: Forever Words has some brilliant moments and is an often-moving tribute to Cash's gifts as a writer, but as a listening experience, it's unfortunately inconsistent. Maybe some of this was better left on paper.

The Disarmers are the perfect bunch of honky tonk rockers to help Shook bring these tunes across. 2015's Sidelong showed Sarah Shook & the Disarmers had plenty of potential, and Years shows there are plenty more great songs where those came from.

E's gifts as a songwriter and vocalist are still sharp, and if you've ever been partial to Mark Everett's slightly skewed but engagingly literate outlook on the world, then The Deconstruction should meet with your approval.

The artists take risks, and they--and the songbook--come out sounding the better for it.

Taken on its own terms, Revamp is dull, but its companion album Restoration: Reimagining the Songs of Elton John and Bernie Taupin--a modern country tribute that takes chances--reveals what a missed opportunity this is.

This balance between over-the-top party starters and thoughtful reflection makes Invasion of Privacy an impressive debut for a rising star who can back up her outspokenness with raw talent.

Fortunately, Goat Girl's singles offer a more pulled-together version of the band's bracing sound, whether it's the wry jangle of "Cracker Drool," the hip-shaking sass of "The Man," or the sexy, sneering defiance of "Country Sleaze." Moments like these are so compelling that they suggest Goat Girl are just beginning to tap into their potential on this exciting debut.

This is the album where Hinds become a great band. They've got the songs, they've got the attitude, and they've got the sound; all their potential has been realized and it's a joy to experience.

Moosebumps tries so hard to replicate the debut that it ends up sounding a bit formulaic, even with an expanded budget and a wider sonic scope. It's still an impressive effort, and worth checking out if you're already a fan, but newcomers absolutely need to hear the original first.

The overall tone of Sister Cities is intense and, at times, comes across as unrelentingly dour. Still, the Wonder Years' maturation from suburban pop punk ennui to (literal) world-weary emo desperation feels like a logical progression, and it's hard to fault them for tackling bigger subjects.

Erase Me can be considered yet another radical shift in the band's lifetime of variation, a risk that pays off with an open mind and open ears.

It's hard to fault the album overall; even though there's a trend for magpie-esque records, Sex & Food still has an instantly identifiable sound. It may not reach the peaks of the previous album but it's stuffed with ideas, and proves that Nielson's consistently shifting tone finds creative strength where others might stretch themselves too thin.

While something is almost always askew, on average, the album feels a little broader and brighter than Painted Shut. Thankfully, it does so without sacrificing lyrical impact or smoothing out Hop Along's distinctive, compelling sound.