Equally precise and off-kilter, noodly and urgent, Dutch Uncles sound remarkably confident on these portraits of uncertainty.

Whether or not Hyperview resonates with Title Fight's existing fan base, it was the right album for them to make.

Their second album, Further Out, finds them honing the rough ideas that were forming on their 2013 debut, Infinity.

Depersonalisation transforms their potential into a beautifully bummed-out fever dream of a debut.

Although essentially a radio-ready pop aperitif and nowhere near the cultural touchstone of Beyonce's album, Reflection nonetheless works as a Revlon ad-level post-feminist girls' night out with plenty of vintage '90s R&B swagger.

Gliss Riffer may not be the next step many expected after America, but it leaves no doubt he remains a force to be reckoned with in indie electronic, creating smart and satisfying work with a stubbornly individual perspective.

Devising a new way of playing heavy music is nothing if not a brave undertaking, and Hexadic rewards significantly with each repeated listen.

By incorporating these offhand allusions to the past while being firmly planted in a mature present, Modern Nature showcases a band whose members are aware of where they've been and grateful for what they have.

For the casual listener, his music may be a bit heady and hard to follow, but for fans willing to be challenged, Roberts has delivered yet another excellent release.

Take It Like a Man isn't White's best album, but it does give him a chance to take a musical detour, and with the Packway Handle Band at his side, this turns out to be a thoroughly enjoyable side trip that suits him well.

Per usual, it's the Unthanks' acumen for crafting highly refined overcast ballads that ultimately wins out, and some of us are all the better for it.

Unguarded is a sophisticated debut, steeped in a chilly, if still insulated atmosphere that strongly evokes '80s-era Kate Bush.

In the Pink of Condition is the work of an artist fully in control of his sound and vision, and Hawkline delivers exactly the album anyone who's been following him wanted.

Her easy, welcoming touch is a balm every time Tomorrow Is My Turn is played, but it's upon successive spins that the intricacies of Giddens' construction--not to mention her subtle political messages--begin to take hold.

In sum, Heavy Love is all of a piece: slow, slippery, jungly. It is easily the most confident, fully realized album in his catalog to date, and his most poetic to boot.

Boxed In's approach isn't exactly new, but it's not nearly as confined as their name suggests--they've delivered a winning debut that's often more consistent than the work of their better-known contemporaries.

Holding All the Roses delivers on every promise Blackberry Smoke have made to themselves and their fans.

This trio aims at an interior center, finds it, and pushes out, projecting Iyer & Co.'s discoveries.

The constant is the familiarity of Spacek's voice, his low whispers and high exhaltations, like he's serenading a nearby audience of one.

Creatures is an album as wonderful as it is unclassifiable, but it is aimed at those who like warmth with their edgy art.

Hayman's brand of pop has always been on the intellectual side and the archival nature of these Morris texts dovetails well with the kind of music he's been making in the years leading up to this fine release.

It's taken awhile for that to happen, but on Picture You, the Amazing have completely come into their own.

Maybe folks were tired of Earle's happy songs, but if you want to hear the man have a good time while kicking up a fuss in the studio, Terraplane is a ride well worth taking.

Their songs of family, love, lust, and spirit pair perfectly entwined and complementary voices.

Recorded in just two days, the excitement coursing through Mourn's entire 24 minutes (including the bonus track "Boys Are Cunts") makes its funny, scary, pissed-off punk that much more irresistible.

Ultimately, although colored by personal trauma, Into Colour remains one of Rumer's brightest, most enjoyable albums to date.

Even though listening closely enough on some songs reveals Smith shouting out the changes to his band, the collision of off-the-cuff recording techniques and intricate songwriting produces another colorful chapter of Sonny & the Sunsets' tireless and always beautiful work.

For all its sonic investigation and ellipticity, Skullsplitter is an intimate, even readily accessible offering that is quite human in its unhurried exposition of emotional depth and vulnerability.