This beguiling little album is another feather in DeMarco's baseball cap, and will live on in his growing catalog, but you might want to head over to Queens for that cup of coffee before it's too late.

While Meridian continues on logically from Dream Sleep, and even Barn Owl's V, it is at another level, one more inherently focused and more overtly compositional. This is Caminiti's most holistic project to date.

Listening to the beautiful, restful and balanced sounds of Green Lanes, one hopes that they do indeed continue to work together for years and years.

Gwenno is firmly in charge of her sound and presentation from the beginning, and Y Dydd Olaf is wonderfully assured throughout.

What sets Romano apart is the natural, ineffable blue mood of his sad songs, which hit the heart dead-on without ever sounding forced, as well as his impressive studio techniques, all of which are on display on Romano's fourth solo album, 2015's If I've Only One Time Askin'.

Living Legend is a non-stop gangsta party connected to the street, offering a more approachable alternative to Ross' grandiose LPs.

Buddy Guy serves up a straight-ahead platter with Born to Play Guitar, his 28th studio album.

Perhaps it's the geographical aura of Cornwall's windswept shores or the musical and emotional support of his bandmates, but the overwhelming tone on Tender Gold & Gentle Blue is of woolen, seaside warmth.

Some of the most accessible and personal music of Hammond, Jr.'s career with or without the Strokes.

This work leaves the debut, impressive as it was, in the dust.

Clementine will no doubt be polarizing for many listeners. There is no question, however, of his raw talent, poeticism, and knack for beguiling melodies, and in this oversaturated market, the true mavericks will always rise above the din.

More than any other Jill Scott album--each one is either nearly or well over an hour in length--its impact would likely deepen with some trimming and resequencing. Nonetheless, there's enough high-quality content to sustain Scott's status as one of the most unique and powerful voices in R&B.

The cheekily-named Greatest Hits, Vol.1 is both a refreshing blast from the past and an ardent kick in the teeth.

While one can always sense the pain and joy in the mere sound of Stone's voice, some of the songs' lines provoke head scratching rather than knowing nods. Through deep, repeated listening, the album increasingly resembles ragtag emoting. Heard passively, it's all pleasant summertime listening.

Sometimes suggesting a cross between Hüsker Dü's Zen Arcade and Bruce Springsteen's The River, The Most Lamentable Tragedy is as big, smart, and heartfelt as either of those albums, and a striking example of what Titus Andronicus can achieve.

Kelly and the Cairo Gang may have started out plying a quirky, inward-looking brand of folk; now they are the brightest, shimmery-est, most impressive folk-rock revivalists around and Goes Missing is as good as guitar pop gets in 2015.

The relaxed, hypnotic nature of the piece [Post Encounter Effect] is a little surprising coming after the ecstatic first side, but it's calming and welcome nonetheless.

The majority of Ego Death is tighter. Bennett has refined her songwriting without reducing the candid approach that colors her past compositions. Additionally, the tangents are fewer and more substantive.

Fingers, Bank Pads & Shoe Prints is another thrilling, occasionally confounding collection that demonstrates why RP Boo is one of Chicago's most unique, innovative producers.

These songs find the group's leader on more comfortable ground, and the tone of Star Wars is that of some good friends tossing ideas against the wall and discovering that a surprising number of them stick.

The EP leads with a pair of sludgy pysch jams, decelerates for the slightly abrasive "drumless space" of "Coma," and closes with the side-long "Radial," which begins and ends with shifting drones that flank seven minutes of searing menace that recall early, "the Can"-era Can.

While the songs are sturdy enough to withstand such gentle rocking, this is a vibe record, the sound of an old pro playing not because it's necessary but because it's fun.

Early Public Enemy was formatively innovative, but on this latter-day record PE explore and deepen that signature not unlike master jazzmen -- or the Stones, for that matter--and that's not only worthy of an album, it's groundbreaking in terms of hip-hop.

As a stage experiment, Watkins Family Hour has thrived for 13 years, and now with a fine record to document their efforts, they've hit on a format that could offer boundless possibilities for years to come.

Bittersweet is a strong, satisfying album from one of the best and most distinctive singer/songwriters of her day, and this confirms she can move in any number of different directions and still offer her listeners something remarkable.

Bahdeni Nami's greatest appeal will be to newer fans who may prefer more contemporary production to the gritty lo-fi dabke aesthetic. That said, despite various flourishes, these producers try hard to remain true to Souleyman's spirit and, with only one exception, succeed in spades.

Ultimately, Music for Drifters ebbs and flows with the documentary, moving from idyllic seaside splendor to foreboding mid-ocean swells and back again.

It's not unfair to say Strange Wilds are a bit derivative, but they also do right by their influences, and they unleash a cranked-up onslaught that's tight and ferocious, with a judicious use of dynamics and an effective application of the traditional cheap Fender guitar run through the right effects boxes.