A joyous and undeniably fun album. Jonas has developed into a deeply self-aware and confident performer whose brightly hued and clever musical taste is on display throughout DNCE.

Scott H. Biram remains one of the rawest and realest honky tonk men wandering our lost highways in the 21st century, and The Bad Testament finds him howling just like the hellhound on his trail.

Under the Pines is emotionally heavy, and its best moments manage to find warmth and comfort in crippling depression.

If you've been following him all along, The Song of Day and Night is something of a crowning achievement for a truly talented, truly idiosyncratic guy.

Featuring a well-written and compelling history of the label from Sarah Sweeney, Sing It High, Sing It Low is an enjoyable overview of a forgotten chapter in early-'70s country-rock, though this story is compelling enough that the album really should have been longer.

A balance of playful and earnest, Wild Imagination's warm melodies, affectionate tone, and quirky charm may provide needed respite even in good times.

Are Euphoria is folky and futuristic, innocent and artful, and experimental and approachable.

Dylan didn't need another covers record. Thankfully, Nile didn't give a damn and delivered one of the best.

Just 33 minutes long, Esker is a compelling glimpse of MacKay as a sound painter and spirit explorer.

Sterilize is raw, unrelenting rock music that unapologetically draws blood.

Despite its evocation of many source inspirations all applied in unusual ways, Out Her Space is pure Blau. He never lets his ambitious charts get in the way of his melodies, ample spaciousness, and warm multivalent textures. Add to this excellent core songwriting and inspired playing from all involved, and this date follows Introducing Karl Blau like a falling domino. All killer, no filler.

Full Closure and No Details is messy and not entirely focused, but it possesses charm and character, and points to greater things ahead from Cohen.

They sound like a band treading water, desperately looking for their place in the modern pop landscape and never deciding whether to go pop or stay totally weird. This indecision leaves them stuck in the middle of the road, which isn't a very interesting place to be.

A commanding, confident debut, Basic Behaviour goes well beyond the ordinary.

Closing in on their 50th anniversary, Judas Priest still possess the musical rigor, showmanship, and force that make other bands bow down. FIREPOWER smokes.

Moosebumps tries so hard to replicate the debut that it ends up sounding a bit formulaic, even with an expanded budget and a wider sonic scope. It's still an impressive effort, and worth checking out if you're already a fan, but newcomers absolutely need to hear the original first.

Bon Voyage shows that Melody's Echo Chamber is far from being just a Kevin Parker creation. Prochet's vision is her own, and it's strong enough here to fly free of any and all constraints.

None of these more pointedly thought-provoking [spoken word] additions detract from the overall flow of the album, and instead add to the overarching vibe of open-minded creativity, love, and empowerment.

Because of its variety of rhythms, infectious energy, and limited track lengths, Angry Cyclist's thirteen tracks go by quickly. That, taken together with lyrics that are both playful and pointed, consistently strong melodies, and exuberant performances make it the type of album that would fun see performed live in full, and one of their best.

Alt-country fans throwing a Christmas party will find Love the Holidays every bit as welcome as a big batch of spiked eggnog.

It's a cool wash of shimmering dream pop, soulful, electronics-laced indie rock, and windows-down Americana that somehow manages to be both unassuming and grand.

The variety of styles, sounds, and beats means that this is one of the more satisfying albums Drake has issued. Despite it being made up of songs that were cast off, leaked, or used as bait, it serves as a kind of shadow career overview that gives a full picture of Drake as a talented, forward-thinking, frustrating, monomaniacal, and important artist.

No matter the name, it's impressive that O'Hagan continues to examine this one small corner of the musical universe, still finding new ways to combine sounds in ways that please the ear and stimulate the mind.

Springsteen's earthy phrasing helps ground these songs and makes for an intriguing, occasionally moving complement to the main album.

The mix superbly demonstrates how the contemporary jazz scene and club culture have cross-pollinated and influenced each other.

Keeping Up Appearances is tuneful and exciting, morose and beautiful, noisy and sweet, and it should have heralded the triumphant arrival of Patrick Doyle as a solo artist. Sadly, he didn't live to see its release. The album is a fitting tribute to Doyle's music and also a tragic reminder of the great songs he will never write or play.

Landreth and Field bring out the best in one another. They are symbiotic in their restless energies and experimental visions, and have consistently delivered excellence together; Blacktop Run is no exception.

Taken together, Thumb World is the type of album that should make for an entertaining, weekend-afternoon diversion with a timely world view. Recommended for playlisting: "Bad Algebra."