Careful listening reveals a newfound looseness and emotional range here.

Alias has created his most welcoming and positive dream world on Resurgam, an album where the creaks comfort and the low cloud cover comes off as heavenly.

More of an experience than a set of songs, Shook's stunning, often harrowing journey of surviving and resisting is well worth taking.

LOTTO is disorienting and messy, but there's undoubtedly something real and honest about it.

It's like listening to early New Order records for the first time, waiting for the next one with a little bit of excited anticipation to see what's going to happen next with every new song.

The addition of meandering, deeply scuffed instrumentals like "(You Can't Hide)," "Maine Vision," and "(Crowded)" come off a bit like unnecessary exercises marring the terrain. For the most part, though, Bonny Doon is a charmer, rambling contentedly down its lost highway of rickety guitar pop.

Strict Joy is a joy from start to finish, as few bands manage to mix intimacy and sweeping songcraft with such finesse.

The album is endlessly engaging, offering a look inside the band's collective head as a carefree playground of sounds where dour string sections melt into watery piano loops, driving electronic drum samples, and spirals of angelic vocals without missing a beat.

Despite a few sleepy moments on the album's second half, Strange Geometry has more flair and movement than Violet Hour, and perfects the band's ability to be uplifting and heartbreaking at the same time.

Losing Sleep is a heartwarming tribute to Collins and a statement that, although he's still on the mend, he's still got a lot more to give.

Pinback don't disappoint with their fourth record, Autumn of the Seraphs.

These songs sound like they were written as she was fed chocolate-dipped strawberries while sprawled out on a bed cloaked with rose petals.

Sorpresa Familia is a portrait of a band that's grown stronger musically and personally in the face of hardship, and the wisdom and freedom Mourn display on these songs is the best revenge they could get.

Outland is a bit more rhythmic and bass-heavy than his previous two albums. There's a much sharper bite to the way he uses distortion here, and the tracks with beats sound monstrous.

It's a testament to his vision and do-it-all ability that he can work with roughly 50 fellow producers and guest artists and line up the results for an hour-long set with tracks that flow forth like they're being decanted.

Smote Reverser is undeniably an Oh Sees record, with all 20 years of the band's history coming through every note played and sung, but it feels like a huge step into something new that's sure to be just as exciting and unpredictable.

The band cultivates a rich collection of emotionally complex instrumental soul, with precise musicianship meeting inspired production and a deeply studied obsession with the often sampled and less often acknowledged obscure geniuses of soul music.

The score is a thoroughly stunning work, showcasing Clark's versatility as a composer and producer, and providing a suspenseful, exciting listening experience.

Shauf clearly didn't want to repeat himself, and he hasn't, even though the soft suede of his voice still dominates the tracks, seeming even stronger when his characters are in emotional retreat. One might be tempted to play this story for laughs, and it's commendable this album feels straightforward and sincere, even at its least plausible and possibly blasphemous.

The King of Whys is still more intimate than any of Kinsella's prior bands, like American Football or Owls, or even Joan of Arc. The album is otherwise not likely to stand out among Owen's catalog, but it's still an affecting and worthwhile effort from an artist who's as reliably tuneful as candid.

Shape Shift with Me feels considerably lighter than its predecessor: Grace is reveling in her mess, resulting in an album that is lighter, fleeter, hookier, and more fun than its predecessor.

Make It Be is more than a pleasant diversion or an oddball one-off: It's the work of two artists of great worth firing on all cylinders. Fans of both Moore and Falkner should be thrilled by the results.

Working with the Australian wildmen gives Brettin's work an unpredictable nature not found on Mild High Club albums. This mutual benefaction means Sketches of Brunswick East is a collaboration that works wonders for both sides and will also make fans of both groups very happy.

As with all of the band's work, this album is inspiring and life-affirming.

More transformative than dour, Head of Roses is a journey toward healing and marks another strong entry in Flock of Dimes' growing catalog of work.

When F&M stick to simple dance melodies and wound-up instrumental grooves, they're as good as anyone else out there.

Although she remains by far the most interesting figure in hip-hop, This Is Not a Test! has more filler than Elliott's allowed on a record since 1999's Da Real World.

It's difficult to imagine how Badly Drawn Boy could've improved on The Hour of Bewilderbeast any better than this astonishing work.