Like its predecessors, Harvey's canny charts, arresting dynamics, and deliberate, reverb-laden production provide the glue for Delirium Tremens. Gainsbourg's work is now often recorded in English, but Harvey remains one of his finest interpreters.

Ibifornia comes with enough funk and cool from guest vocalist Cat Power that it could be the spiritual sequel to the Tom Tom Club's debut album, plus all the faux exotica, busy soundscapes, and chugging basslines suggest the Swiss duo Yello.

Some moments are so bleak that they could be titled descriptively as "What Does Your Witch House Look Like, Pts. 1-2," yet the whole thing sounds like it was created in a state of fevered inspiration.

The way the Kaplans juxtapose '80s fantasy and 2010s reality gives Autodrama's deceptively breezy music a depth and purpose that separates them from the rest of the atmospheric pack, and makes their return all the more welcome.

Far from being an album for wallowing in the depths of grief, True Sadness is a record about the emergence of hope.

Anybody looking for a straight-up document of Young & the Promise of the Real may very well be disappointed--all those pesky critters keep getting in the way--but Earth is better because of its inspired madness: the weirdness isn't merely a reason to listen, but it elevates the album to the status of one of Young's genuinely inspired nutso albums.

Ultimately, Thick as Thieves plays like a heartfelt love letter to Temper Trap's fans who have stuck with them since Conditions.

Given how good the Felices are at what they do, fans are still likely to enjoy Life in the Dark's rambling take on American roots music, but casual observers might find their minds wandering by the time the album makes it into its final innings.

The music is vigorously played and faithfully captured, but the Mystery Lights' identity seems a little too lost in time.

Not quite classical, though certainly not pop, Postcards From is a fascinating meditation from the soul of a traveler.

He doubles down on funk and digitally erased cultural boundaries without losing a specific sense of self or place.

They sound more engaged and electrified on Future Present Past than they have in years.

While Minor Victories builds on its members' legacies, the band sounds more excited about the present and the future than looking back.

Ten spiny noise-pop jams that occasionally resemble New York contemporaries DIIV, and even bits of early era Cure, in their moody guitar styles.

Rather than a dry, scholarly guide to the Thankful Villages, Hayman's warm snapshots represent a fading vision of rural Britain, and it's a tribute he gives with great respect and tenderness.

This is a beautiful, expertly paced release that logically fits in with both artists' Editions Mego discographies, both as solo artists and with Fenn O'Berg.

Without question, Jambinai are strikingly original, combining disparate elements into a unique, bewildering sound that resembles no one else.

This music is powerfully intelligent without sounding the tiniest bit pretentious, and imaginative without losing a bit of downtown grit. Blood//Sugar//Secs//Traffic is a blazing cool rock & roll assault, and a record that confirms greasy thugs can have a future after all.

Mumford & Sons proceed with intention, making this into a listen that's not only more compelling than their 2015 full-length, but one that suggests ways they could grow.

While the added mainstream polish, hooky melodies, and guidance from blink-182's bassist do make No Grace sound distinctly like a big pop-punk record, PAWS' attitude here is ultimately more sober as they trade in some of the wit and exuberance of their earlier outings for more adult-oriented themes.

With its emphasis on exploring atmosphere over the artful, structured pop of his prior releases, Blood Moon stands alone in Craft's discography to date. Recommended for late-night introspection whether under shelter or, even better, lying out under the stars.

Though darker than her previous albums, Undercurrent is also more resilient. Jarosz reaches through her musical and personal histories with vulnerability and willingness. She comes out on the other side with songs that possess narrative savvy, melodic invention, and a refreshing sense of self-assuredness.

With The Digging Remedy, Plaid remain eclectic as ever, keeping their oddness and exploratory nature intact.

The album retains Dear's personality while dutifully serving its function.

It first impresses with its savvy, swinging retro vibes, but it resonates thanks to those strong, enduring songs.

At times, Hollingworth and Walton's freewheeling experimentation gets a little too chaotic, but I, Gemini is an adventurous debut filled with moments of surprising beauty and humor.

On the whole, the produced numbers are better than the unadorned cuts: Bugg's nasal twang gets buried underneath the gloss and the hooks are pushed to the forefront. The whole thing adds up to a bit of a mess, not in the least because Bugg's schtick was his authenticity.

This album is not going to give Gojira any big pop radio hits, but it will certainly broaden their appeal outside of the death metal ghetto to more general fans of metal and hard rock.