Thanks to maturity, Fridmann's mix, and uncanny sequencing, every song fits seamlessly inside each proceeding one, delivering a mercurial yet satisfying whole that makes Gold & Grey the band's finest outing to date, if not their masterpiece.

The whole record is a testament to the skills of everyone involved as writers, singers, players, and arrangers, an upgrade on In the Reins, and exactly what fans of both bands would hope for in a collaboration.

The Traveler continues Shepherd's trajectory of quality. The diversity in his musical approach, songwriting consistency, organic production, and passionate performances place it over and above anything else in his catalog to date.

Despite this contemporary flair, what keeps Help Us Stranger lively is how the Raconteurs blend and mix barbed pop and blues skronk so their classicism seems fresh, not stale.

This need to seize the moment has been one of Bastille's main messages since "Pompeii," and with Doom Days, they prove they can deliver it in increasingly eloquent and relatable ways.

It's a bit of a shame that the band's name may turn potential fans away at the door, but PPC work pretty hard to overcome their self-imposed handicap and turn in an exciting and solidly built third LP.

As promising as Dommengang's first two albums were, No Keys, with its dark, swirling emotions, layered sound, and canny songwriting, stands head and shoulders above them in both imagination and execution.

Nelson and co. have omnivorous tastes and a sense of humor, a combination that results in slow-grooving R&B numbers, sun-kissed pop, rangy rockers, and a persistent good vibe. In troubled times, the band have managed to deliver an album filled with optimism, and that's a remarkable feat.

False Alarm is a colorful, good time album by a band that's maturing, and having fun at the same time.

Overall, this is one of Ronson's best works--a complete pop album.

The Age of Immunology is an idealistic, impressionistic rebuke to Brexit and the other xenophobic movements of the late 2010s. ... On The Age of Immunology, they set this message to beguiling, fantastical soundscapes that are as welcoming as they are unusual.

The result is a positively buoyant rock & roll album, one that produces good vibrations even at the darkest moments.

The stylistic shifts can be a tad neck-snapping, especially when the vibe goes from acid rock sock hop ("Masquerades") to space age instrumental synth pop ("Cymatic"), but Los Coast always feel in control of the vehicle, which appears to be of multiple vintages.

It simply finds Stickles and his crew moving from one position of strength to another, and it's as bold and exciting as anything they've delivered so far.

While other hitmaking urbanos (J Balvin, Bad Bunny, Ozuna, Farruko et. al) have also pursued crossover domination, Maluma is poised to succeed due to the seamless adaptability he offers on 11:11. He displays over and again here that he not only indulges stylistic diversity, but masters it.

As a first chapter, Schlagenheim crackles with the same excitement as ground breaking records that came before it did when expanding the known boundaries of experimental sounds.

As Hatchie exceeds the expectations set by Sugar & Spice, Keepsake reflects her growth into an even more confident and varied artist.

Nostalgic throughout, yet often more affectionate than bittersweet, Gold Past Life represents another consistently strong set from Johnson, one with melodies and sentiments that linger.

Buddy Miller lends all the support any artist could want or need on these performances, but he's smart enough to understand Julie Miller is every bit as deserving of the spotlight. On Breakdown on 20th Ave. South, he makes room for her to shine, and it's a very welcome reminder of her gentle strengths and singular voice. We need her in these days.

The sound on this set is better than many other volumes in the series. And of course, the music is unassailable in both choice and presentation.

Fans of Veronica Falls can still lament that the band is gone for good, but Patience is a fine substitute that delivers the same great songs and deep feelings only in a different package.

On the whole, these aren't the boldest reimaginings of her songs that she could have delivered, but it makes for an extremely uplifting listening experience that works as a lovely placeholder until her next album--and as a calling card for anyone unlucky enough to not already be familiar with Weaver's sound and songs.

The sheer breadth of the ensemble's expression on We Are on the Edge is staggering, a strident declaration that Mitchell and Moye will carry the AEC's powerful, boundary-less creative ethos full force into its sixth decade.

It's a good-time record designed for daylight and, after the murky Turn Blue and its ensuing hiatus, it's refreshing to hear the Black Keys step out of the dark and into the sunshine.

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.

It's the kind of sunny, burly record that gets the business done so efficiently (the album lasts a little over a half-hour) that you want to start it all over again once it's done spinning.

Gode was clearly a bold, daring step into unknown territory for Bratten, and Pax Americana is just as impressive, in addition to being much more accessible.

Mead delivers each of these songs with understated soul and that's what gives Close to Home its comforting spirit: it feels as cozy and nourishing as home itself.