They don't appear to be aiming for a masterpiece; instead, they wanted to write some good songs and let them shine in the studio, and on that level, The Traveling Kind is a rousing success and a deeply satisfying work.

So You Wannabe an Outlaw is something plenty of Steve Earle fans have been wanting for years, a no-excuses country album that updates his breakthrough work, and it's an effort that should please his core audience while also sounding like an album Earle made entirely on his own terms.

More confident, explosive, and produced than their lovable but ultimately flat-sounding debut, the aptly named Departing finds the trio ditching the living room scene for the road, carving out a solid collection of fiery, understated, nostalgia-laced indie pop gems that fly by like mile-markers.

It may be only their first full-length, but Time:Line is a strong showing from both musicians, and promises what could be a very fruitful partnership.

They've built up a new Holopaw around them, expanding their sound in the process.

It's their catchiest offering to date, with enough depth and immediate appeal to rival their influences.

Morris is lucky to have such a sympathetic group of musicians to play with, and the well-produced combo of words, vocals, and music make We Come from the Same Place another treat for fans of thoughtful, painfully adult indie pop music.

Country Music manages to have very little going on in its sonic landscape but still radiates an overwhelmingly dense feeling. There's a distinct stir-craziness to the album, feeling by the end far more like a haunted house than an idyllic bungalow.

At 42 minutes, Pearson Sound isn't much longer than some of Kennedy's EPs (such as the self-titled Ramadanman double 12" from 2010), but it makes an impact, exploring a great variety of forward-thinking sounds without meandering or becoming repetitive or predictable.

Hammer of the Witches doesn't reach the heights of Dusk of Her Embrace, but it does offer proof that there is plenty of fire and creativity left in Cradle of Filth.

On Vacation isn't CFCF's most focused work, but it isn't supposed to be. As the title states, this is music for escaping day-to-day life and getting pleasantly lost.

Joyce Manor may still be finding their footing in this more mainstream rock field, but there's a lot to like on Million Dollars to Kill Me, indicating that they're moving in the right direction.

Affecting, cathartic and unsettling, Girl with Basket of Fruit reflects that while the edge to Xiu Xiu's music has changed with time, it never dulls.

If The Pet Parade doesn't break new ground, it does offer comfort and compassion wrapped in a honeyed, effortless indie folk that honors the project's now-long tenure.

More grounded and yet more transporting than many of their later albums, Born Horses is ample proof that Mercury Rev are still making moving, thoughtful, exciting music -- and like most of their best albums, there's nothing else quite like it.

It is a compelling, engaging, and emotionally powerful set of songs from a strikingly talented singer and songwriter, and this is her most intimate and affecting work to date.

All told, Many Moons is not only worthwhile for fans of Real Estate and related projects, but for lovers of the honeyed melodies and genial jangle of the pleasantest of power pop.

This is much more of an abstract, "experimental" affair than a pop one, as friendly and approachable as it is--only a fraction of the selections could properly be described as songs, and even those tend to spiral off down unexpected textural avenues.

While a few of Total Dust's later tracks tend to blend together a bit, the album is never less than pretty and sincere, and it's always nice to hear artists like Borcherdt prove they can do several styles of music equally well.

Although recorded with Midlake (the band even shares billing in the album's title), it feels more like a solo release, lacking both the cohesion of a proper lineup and the checks-and-balances system that Grant's former bandmates provided.

Ultimately, in I Was a Cat from a Book, Yorkston has delivered a measured, wise, and life-affirming record, which has the power to inspire.

Ultimately, Walking Shadows is a mature, sophisticated album that can stand head to head with the best orchestral jazz albums of any decade.

This record is Queensrÿche; the other group is just Tate and company (mis)using the name.

There is an overall sense of it being the right album at the right time for Mandell which is something that doesn't happen very often in an artist's career.

While War Psalms is certainly a long way from Morning Glory's humble beginnings as a bedroom recording project, the album shows a maturity that marks it as the beginning of an exciting new era for the band.

Ragan's insightful writing lends itself to both anthems and love songs, revealing the singer/songwriter's maturity and savvy. He just needs to trust his vision more.

Underneath the amplification, the songs are still there and still sturdy, but the buzz of stomp boxes hides that craft while also suggesting the songs run much longer than they do (most of the songs barely tap out over three minutes).

If it doesn't always feel like the dream collaboration between these gifted relations, Family clearly demonstrates what makes them special, individually and collectively.