Simone Felice wears his heart on his sleeve on All The Bright Coins, and while that's an easy way for an artist to sound foolish, in this case he's created something brave and exciting in its embrace of the human spirit, and it's often strikingly beautiful.

For listeners who miss the simpler early days, All the Truth That I Can Tell is a treasure trove of comfort and familiarity, an utterly relatable collection of growth and hope tempered by the starkness of reality.

The album does a masterful job of presenting Wand's powers as a live act, with the songs sounding every bit as strong as their studio counterparts, and often much more exciting.

True Entertainment often feels like a culmination of Dutch Uncles' music. At its best, it finds them growing into the kind of cult-favorite act that would have inspired them at the beginning of their journey -- and that makes it a true testament to their creativity.

While it's admirable that they're not content to simply rehash older material, the riskier new material sometimes hits its mark and sometimes flops. The edgier tracks on Different Game will appeal to die-hard fans and those following the Zombies' entire journey, but might register as confusing for casual listeners. As ever, all the surrounding details are reduced to afterthoughts whenever Blunstone sings.

The brilliant Dreamer encompasses every style Iqbal has previously explored in her music while containing her most introspective, poignant songwriting.

By expressing humanity's unstoppable need to create and connect on What Will You Grow Now?, Modern Cosmology exemplify how beautiful and inspiring the results of that can be.

The strongest submissions make it worth the listen, however, as it's wonderful to hear yet another generation of artists doing interesting things inspired by Drake's evergreen presence.

Cottonwood 2's glimmers of unpredictability are its best parts, and make the more by-the-numbers tracks all the more interesting by offering a contrast.

Moving way beyond their debut, Goodnight, God Bless, I Love U, Delete. is the sound of artistic maturation and sonic expansion, a logical culmination of what they were trying to do in the first place.

Les Jardins Mystiques, Vol.1 is certainly a monolithic package, but it's more than that: it's a statement that reveals the vastness of Atwood-Ferguson's inspiration, creative breadth, and musical vision without compromise. Unique? Sure. But also profound.

Alternately affectionate, suspenseful, weird, and poignant, TPTGATKOMDM is a journey, but it's brought to you by straight-up good songs.

Infinite Health offers enough variation on his style so that it doesn't seem like he's covering old ground, even though it's actually some of his most nostalgic work.

Yet another late-era treasure trove that highlights all the facets of Snow Patrol's pure emotional catharsis and introspection.

The album levels up with its final four tracks, which fully commit to the rapid tempo of drum'n'bass.

In their own oblique way, Rhetoric & Terror's ambling experiments feel confrontational; when so many artists are unwilling to flout the most basic musical conventions, Hemphill and company are still very much on their own path.

As on every new Telescopes album, the differences can be subtle, but as Halo Moon winds down, the overall feeling is decidedly softer, more contented, and less tortured than previous efforts.

While Why Is the Colour of the Sky? doesn't offer any particularly memorable tunes or sentiments, it's definitely a vibe, and at 35 minutes in length doesn't overstay its welcome despite becoming quite immersive.

The Velveteers are getting better at what they do, and A Million Knives captures that well, but they still sound best when they let their swaggering rock attitude do the talking.

Selected Recordings from Grapefruit is heady and highly conceptual, but the Great Learning Orchestra does a good job of understanding the spirit of Ono's texts and honoring all of the loving kindness, curiosity, sprightliness, and righteous resistance of the book.

It's a major work composed of gritty beauty, intention, realization, and hope; it belongs on the shelf next to albums by Virginia Astley, Marianne Faithfull, and Patti Smith.

The ten-song set bristles with potency and urgency, especially on the high-octane singles "By a Monster's Hand" and "In the Barn of the Goat Giving Birth to Satan's Spawn in a Dying World of Doom."

More diluted than truly disappointing, Paradises boasts enough standout tracks to please fans -- but with more shaping and a sharper mix, it could've been one of Ladytron's great albums.

Engines of Demolition is an aptly named collection of old-school sonic malevolence that's unapologetic in its commitment to its core sonic temperaments.

Ness and his band remain faithful here to their trusted melodic punk rock sound.

Rkives rounds up existing rarities--several B-sides and demos--and six unheard songs, plus a remix featuring Too $hort. That is the most radical shift in sound on Rkives but there are hints of the glitzy bombast of Blacklight scattered throughout the collection.

This is not a remarkable album by any stretch, although its packaging is--it contains a punch-out mobile as a booklet--but it is a further step in the development of a singular and ever elusive artist who possesses a truckload of talent, but is still unsure of which direction to head to realize it all.

This frantic release gives them a kind of spastic, jagged sound that puts them somewhere between Lightning Bolt and an actual bolt of lightning, and makes Tripper an album that's more likely to wear listeners out physically than mentally.