Beabadoobee refuses to be boxed in as she grows as a woman and artist, and on This Is How Tomorrow Moves, she dares her listeners to keep up with her changes.

Bird's Eye is more of a grower than Hypnos, but it gradually reveals itself to be another marvelous, multifaceted record.

A Dancefloor in Ndola provides a valuable history lesson, but it also functions as a collection of great, uplifting dance music.

Devil Rides In is lovingly curated and offers surprises even for listeners who think they know the era's music well.

This does not add up to a Great Lost Justin Townes Earle Album. Instead, these bits and pieces he left behind testify to his gifts as a writer and performer, and remind us of just how much was lost when Earle died, as well as demonstrating that someone should have convinced him to do a solo acoustic album.

When all is said and done, they remain fantastic songwriters, able to convey a variety of emotions without relying on the trappings of punk. The corners may have been sanded off, but it has only revealed new and interesting textures underneath.

It's an album that one can't help but to imagine making for impactful concert moments.

The format [just over 20 minutes long] proves again to be well-suited for the singer, providing another highly concentrated shot of material that shows her moving with ease -- sometimes blurring the line -- between sensual slow jams and pop-flavored dance tracks.

With Paradise State of Mind, Foster the People have made an end-of-summer album full of cathartic grooves.

Belong rides the line between dreamy songs and noisy nightmares expertly throughout the album. Most of the band's records are best experienced in full, front to back, and Realistic IX is the same but in a different way.

While it might be nice to see a little more focus on something nearer to a composite sound, Wishy have already got a good thing going on an auspicious debut LP.

By probing the heart's most vulnerable places on Meditations on Love, Susanna uncovers new angles on well-worn feelings and her music alike.

Oyster Cuts is a softly triumphant album, one that replaces the noncommittal vagueness that plagues so much indie rock with songs that tackle difficult feelings directly. It's a sound as beautiful as it is weary, and one that gets better the more involved you become with it.

It's a potent celebration of life amidst chaos and cruel fate, and while it still doesn't sound exactly happy, in its way it is the most optimistic LP Cave has ever made.

With Imaginal Disk, Magdalena Bay straddle pop worlds, bringing together a maximalist dance club atmosphere and ecstasy-laced, burning Wicker Man euphoria, all filtered through a dial-up computer dream of the pop future.

Woodland continues their mastery of earthy country-folk songwriting that nods to tradition but is ultimately timeless and deeply human.

Champion's affecting, thoughtful, occasionally hyperactive songs open up new possibilities for the band and celebrate being true to yourself -- no matter what your age.

Power more than lives up to the high standards Sarah Tudzin established on Let Me Do One More, and if you're in the mood for smart, insightful indie pop that's not afraid to rock, Illuminati Hotties is a band you need to hear.

Stepping up significantly from the sometimes personality-light commercial sounds of her earlier work, Latto cultivates an atmosphere of palpable Deep South humidity and salacious fun on these songs.

The youthful presence of Romany's (as well as his son Gabriel's) vocals are a boon, lending to the largely collaborative feel. Still, it's undeniably a Gilmour album, woven through with the elegant, lyrical guitar playing and haunted vocals that are his signature.

While the record's 11 tunes clock in at a mere 33 minutes, it feels complete, fully formed, and full of great tunes and hard-won wisdom.

Manning Fireworks is his own fusion of the contemplation of Harvest and the release of Zuma, and it's a small triumph of noisy roots rock.

At turns incisive and deeply felt, Ensoulment is more than a welcome return for Johnson and The The.

Hinds pull off their reboot with daring and style, in the process making a record easily good enough to stand proudly alongside their best work.

Rest assured, there's plenty of rappity rap-rap on Alligator Bites as Doechii lays bare her paradoxical qualities -- declarations of dominance, examinations of self-doubt, both the pressures and exploits of her fame brought to light -- in vivid style.

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.

Much like Sinephro's debut, Endlessness is refreshing, enlightening, and awe-inspiring all at once.

While the Heavy Heavy do seem to lift the occasional riff, the songs here sound like recordings lost in time for the most part, and the songcraft exceeds "lost outtake" status, with songs instead demanding headline standing of their own.