It may be only four songs long, but Vasquez makes up for its small size by packing even more ominous drones and evil-sounding synths into it.

People, Hell and Angels certainly isn't the place to start your Hendrix collection, but collectors will surely want to hear this and it provides an interesting perspective on where Jimi's music was headed post-Experience.

Though it may puzzle initially, its substance is such that it creates a mysterious and compelling listening experience that assures one that more will be revealed.

Though worlds away from White Hinterland's soft-hearted chamber pop beginnings or more recent dreaminess, the dire overall feeling of Baby represents vivid, undeniable growth for the project.

Once again, they have succeeded and prove that they aren't just an oldies act; they are at the forefront of the modern shoegaze/noise pop scene.

That bifurcated sentiment is best laid out on prime cuts like "1999," "Too Late," "These Arms," and the luxurious title cut, all of which ooze atmosphere and vulnerability, but are denied oblivion by the grounding force of Grossi's remarkable voice.

It's all spirited and lively. At their best, the wide-eyed folk-soul moments tend to evoke a contemporized version of fellow Englishwoman Linda Lewis.

The whole album is pretty good, sometimes even really good. The Parrots may not be doing anything new or even close to it, but they give the corpse of garage rock a good kicking and that's a pretty cool.

Lady Parts is a fun, slightly chaotic album that captures the creative spirit of golden age rap, updated for the damaged attention span of a generation raised on social media.

There's some solid world-building going on here, but not a ton of innovation.

While it does contain a few songs that could be split off and saved, it mainly goes to show that she makes for a better melancholy dream pop artist than a singer/songwriter with her toes dipped in Americana and soft soul.

Persuasion System signals a bit of a different approach for Haley, but not so much that it will alienate anyone who enjoyed his earlier releases.

While its charms might take a few spins to unpack themselves, Andersson and Dornauer have applied their own unique set of filters and experiences to the dreamier side of post-rock on this solid debut.

It manages to enrapture thanks to solid layering and intricate patterns -- even if those patterns never really go anywhere -- yet wholly relies on listening to dance music for relaxation. With that requirement fulfilled, Bedroom Tapes shows that Woolford can embrace his softer side with effective results.

Chronologically sequenced, it presents an alternate, semi-secret MC timeline. It starts with an upbeat Mariah Carey outtake, ends with a 2020 acoustic version of Butterfly track "Close My Eyes," and more importantly contains some prime B-sides.

The album is celebratory rather than mournful, channeling the positive, creative energy of these spirits and honoring the fleeting miracle of life.

Leaving Why Bonnie's previous home-brewed and indie pop leanings behind, 90 in November and its solid songs mark a confident step forward into the domain of dreamy, twang-infused rock.

At times, the first two Amber Arcades albums felt like they were made by someone feeling her way toward something better; Barefoot on Diamond Road is where de Graaf arrives.

Prizefighter is marginally better than its predecessor, dispelling some of the awkwardness of a long hiatus and reinforcing Mumford & Sons' reputation as purveyors of quality comfort food. It's hopeful, reflective, safe, and deeply rooted in the folk and country traditions the band knows intimately.

Cuts like "Possession," "Grudges," and "The Last Two People on Earth" have a cavernous, late-'80s and early-'90s alt-rock majesty, as Martinez frames her cracked porcelain vocals in shimmering, reverb-heavy guitars and synths, broken-glass percussion, and orchestral strings.

Altogether elegant, moving, and often beautiful, Not to Disappear leaves Daughter, without question, on the heavier side of the emotional spectrum, but, like the Cure's "Dark Trilogy" 35 years prior, is sure to connect deeply with some listeners and stand out not only among pop contemporaries but among other emotive, textured indie pop.

Shut Down the Streets is as accessible as it is rewarding, and as refreshingly idiosyncratic as it is revealing.

Clockwork Angels demonstrates why, after 36 years, Rush's fan base continues to grow. Its musical athleticism and calisthenic discipline are equaled only by its relentless creative drive and its will to express it in a distinct musical language.

Shifting into metalcore territory is a tricky decision, since a lot of their initial appeal was due to the fact that they were making their own personal stamp on revitalizing punk--a genre that's becoming increasingly saturated with commercialism. Here, they seem less unique.

Soft Airplane is a more focused outing; one that rarely travels outside the indie pop realm.

Freeclouds has a little more up its sleeve than either a clear break from Tanton's past or a simple extension of it.

It's in Mended With Gold's second half that the band feels the most engaged.

Not only has she written an engaging set of songs, but they are played and captured with gusto.