The Way Is Read's sequencing, which mixes songs and connective tissue, sometimes within and across tracks, has the effect of an album-length work, if one with distinct tunes. Perhaps its biggest achievement is that it so often seems the work of a single group of nine.

The energy level is high and restless, in a near-permanent state of agitation, heightened with machine beats that judder and bounce, synthesizers that plink and probe, and Williams' animated protestations. The rollicking temperament gives all the material, and that includes "Don't Don't Do It!," regarding the fatal police shooting of Keith Scott, a replayable quality.

Their fourth album of 2017 may not be their most exciting of the year, but it is their strongest and shows that King Gizzard don't need any bells and whistles to make a great psychedelic splash.

With an inspired guest list and excellent production, The Beautiful & Damned is a satisfying artistic accomplishment that cautions as much as it seduces.

These are complex songs worthy of a band as rich as the Turnpike Troubadours, and both Felker and his group are at a peak on A Long Way from Your Heart.

Even though some of the tracks are a bit slower and obviously produced while Thomas was ill and bed-ridden, they don't seem too sluggish or lazy for their own good. An easy success.

As a songwriter Garrie is the consummate craftsman, playing the everyman bard while Olson and Forester's production sets the stage without ever being cumbersome on this strong release.

Playful, fun, and steamy, Afternooners is another remarkable collection of obscure heat from the visionary artist.

With his often muted horn and inclination toward long, extended phrases, Scott feels as much like a vocalist as he does a trumpeter. It's a sound contrasted nicely by his bandmates Cook and Pinderhughes, who accent what are often purposefully pixelated grooves with soulful, harmonically nuanced improvisations.

It's an album that feels lived-in, filled with songs etched from hard-earned experiences with music to match.

Regardless of a stumble or two, Asking Alexandria is well worth a listen. While The Black was a passable offering at a time when it seemed like it would be a permanent arrangement, this reunion simply feels right.

Whether they're sophisticated or visceral, Shame's energy and confidence makes Songs of Praise an exciting debut from one of the most vital-sounding British rock bands of the late 2010s.

A vibrant album that explores the political and cultural tumult of the late 2010s with anthemic heft and individualistic perspectives.

The result is another eclectic, iconoclastic record that doesn't sound like anything else happening in the world. That the Go! Team can sound as fresh and inventive on Semicircle as they did when they started is an impressive, almost miraculous, feat that defies nature and defines triumphant joy.

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

Ruins is never complacent, though, keeping its rough, rustic edges, and allowing for the sounds of fingers on frets on quieter tunes like "To Live a Life." Lyrics don't put on a false front, either, and that's ultimately what makes the album linger.

Traversing a wide range of moods and textures, World of the Waking State is a highly introspective work, perfectly suited for late nights spent lost in deep thoughts.

If he sometimes sounds like he leans too hard into his rasp, this vocal tic is mitigated by those songwriting skills and the supple sound of Cobb's production, elements that turn Encore into a minor gem.

While the album is integral to its predecessors as part of a loosely conceived and articulated musical trilogy, it stands on its own as an exercise in close listening, careful communication, and quiet revelation.

By turns gentle and bold, traditional and boundary-pushing, The Thread That Keeps Us is another fine example of Calexico's ever-broadening horizons.

While some older fans who haven't kept up with Buffy Sainte-Marie's work from 1992's Coincidence and Likely Stories onward might be surprised by the sound and spirit of Medicine Songs, this music leaves no doubt that she has no interest in aging gracefully; at 76, she's as fierce, aware, and committed as any artist a third her age, and these tunes speak to the madness of 2017 with a stunning clarity.

Earthtones is a refreshing, playful set that hits a sweet spot between classic smooth soul and Jurvanen's pensive soft rock.

This Is Glue ends up a clear improvement over the band's debut and something worth recommending to fans of classic jangle pop and anyone looking for some catchy indie rock to help them break free of all the bands that seem content to just cruise along in low gear.

Could It Be Different? is an exhilarating album that hits hard on the emotional front while making sure to move feet at the same time. It's a small step up from their previous works, with stronger sounding and with sharper hooks that help make it even clearer that the Spook School are one of the most exciting and important bands of their era.

Dream Wife have seized a certain energy that is undeniable and--despite the myriad inspirations and easy comparisons--feels so fresh and alive, enough to make their trailblazing influences proud.

More nuanced than previous releases but recognizably brand-related, Marble Skies is another win for Django Django.

While Cook's credentials are undeniably impeccable, they don't outshine her talent, and she just keeps getting better.

Much of the time, Freedom's Goblin plays like Ty Segall's version of the history of rock & roll as seen from his perspective, and it's as idiosyncratic and exciting as you would expect. It's also some of the very best music Segall has given us to date, essential for fans and strongly recommended to curious newcomers.