Castles exists in a bit of a netherworld--it's commercial yet idiosyncratic, classic in its structure yet contemporary in its sound-but that's also it's a quietly compelling record, revealing an artist who is starting to hit her stride.

Generously spackled with clever instrumental bits and imaginative but never flowery lyrics, Used Future is the most effective and compelling distillation of the Sword 2.0.'s sound to date.

Everything on Twentytwo in Blue fits together perfectly; from the songs to the sounds to the performances, it's indie rock and pop at their thoughtful, searching, sweet, and punchy best.

Space Gun doesn't quite match that underappreciated masterpiece, it comes close enough to confirm that Guided by Voices are quietly in the midst of a late-career renaissance.

"Corporation" and "Ice Station Zebra," the two funkiest numbers here, illustrate this with their precise grooves, but even the self-consciously weird interludes show this same level of exactitude. While that keeps Boarding House Reach somewhat in a straitjacket, it also makes it a fascinating listen, because it's a document of a control freak anxious to get loose.

What keeps Longwave's distinct improvisational character upright in the rocking chair, lost in thought instead of asleep like the cat, is a gentle melodicism and an impressionistic bent that's as pretty as it is simple. Part of that design is subtle organ, piano, slide guitar, and effects that fill in some of the space around lead guitars in broad strokes.

Post- is actually a pretty wild ride. ... Perhaps surprisingly so, Post- is also one of his most accessible solo outings yet.

May Your Kindness Remain impacts with these evocative snapshots of the 99-percent, but it also does so with Andrews' rich voice and melodicism as well as a lingering sadness.

When a band decides to go with an eponymously titled release several albums into an established career, it often works as a statement about reclaiming their identity, or making a new creative start. If that's the case here, the Neighbourhood have done both with their own cool aplomb.

It's hard to say if Sallee gets a lot out of a little or intentionally little out of a lot here, but the album is at once rich, restrained, and beguiling.

He's certainly less distinctive as a rapper than he is as a singer--both lyrically and vocally--original only for the level of his combativeness and the number of times he references his luxury coupe and wrist wear.

Oneida never left, so this isn't a comeback by any means, but they certainly seem re-energized, making this their best work in at least a decade.

World Beyond amplifies how efficient Erasure's own arrangements are, while at the same time giving Bell more space to command the room, which he does, with nuanced performances.

While it's not so much a step back as it is more of the same, fans of this emo revival sound should find enough pain and yearning here to elicit pangs of nostalgia (or, if the wounds are fresher, a sympathetic shoulder to emote on).

While a bit uneven in spots, Both Sides of the Sky is well worth it for an avid Hendrix fan.

Bible of Love is an admirable turn for the former Doggfather--now grandfather--and serves as a wholesome but inessential addition to Snoop's protean catalog.

Chenaux has made a gorgeously hypnotic record that feels like a genuine break from life's often aggressive pace.

For a couple days working things out on the spot, Myths 003 came together almost perfectly and is a worthy addition to each band's impressive catalog.

Given its experimental origins, Mr. Dynamite is a little scattered, but Creep Show's sophisticated mischief is so entertaining that it's a pleasure to hear each unexpected turn they take.

Jericho Sirens is rock & roll in its purest form; angry, white-hot, and overloaded with energy. It's good to have Hot Snakes back to show the posers and fakers how to do things the right way.

Like A Crow Looked at Me, Only Now overflows with love, but Elverum never romanticizes death. Instead, he vividly captures the nuances of grief, absurdity, and hope as he and his daughter leave the "blast zone" immediately after Castrée's passing, and that makes Only Now a remarkable portrait of loss--and growth.

There's a Riot Going On is, in its own subtle way, Yo La Tengo at their most uncompromised; it's an album that's likely to separate their most hardcore fans from more casual admirers, though if you loved "Night Falls on Hoboken" from And Then Nothing Turned Itself Inside-Out, you'll likely savor it.

On BLUE LIPS, Lo refines her unmistakable sounds and moods more satisfyingly than she did on Lady Wood, and transforms betrayal and denial into some of her finest songs.

Because the Fratellis are no longer rushing toward the finish line, In Your Own Sweet Time can seem a little stiff and fussy, but the group's instincts remain sound, and that helps turn this album into something handsome instead of something stuffy.

The quartet, occasionally joined by players such as Doyle Bramhall II, Jeff Parker, and Levon Henry, roams fluidly through funk, roots music, and unclassifiable stylistic amalgamations, like they're doing so on an intuitive level.

This 2018 album shows they haven't lost their knack for hooky-heavy hard rock that wedges its way into the subconscious. The album can't be called a comeback--the group were toiling away during the 2010s, after all--but it certainly opens the door on another act in their career, one that is sonically tied to their past but feels brighter (and more relaxed) than their first chapters.

While Meloy's lyrics are sharply honed and evocative, it's this cavalcade of sounds that not only makes I'll Be Your Girl compelling, but distinctive among Decemberists albums.

New Path is perhaps the most challenging release yet from the already confrontational duo, and while it's not as accessible as Demain, it's still rewarding and often exciting.