Again produced by vocalist Nick Thorburn and bassist Evan Gordon, the album nods to Islands' past but remains firmly planted in the time of its release, not only in production quality but also in focus. The hooks dig in deeper and the melodies hit harder, maturing their sound.

Some stretches of the album may be a little too sleepy and subdued, with songs bleeding together in a hypnotic haze. Nonetheless, refreshingly void of aggression or any deliberate tension, Cloud Nine comforts with its positivity and charm.

It's not a vibe record so much as it's an album about the interplay of old pros who still get a kick playing those same old changes years after they've become second nature.

Beauty Already Beautiful is bold, soul-baring proof that Spookyland knows the best rock & roll is all about unexpected contrasts; even when they nod to decades' worth of rock history, they sound vital, never lazy.

Oscar displays a light touch that ensures Cut and Paste is a charming, unpretentious confection of an album, as well as a promising debut.

These People functions as a pleasing adult alternative record.

If getting a live, rough demo energy was the goal, then the Heavy have succeeded. While the album never sounds lo-fi, the production nonetheless has the taut, confrontational energy of a basement punk show or old-school juke-joint performance.

Whether it showcases a singer with a guitar or circular improvisations on a theme, most of Day of the Dead follows a similarly understated, tasteful path and, ultimately, that's what's impressive about it: it is a tribute to the Grateful Dead as sonic adventurers, pioneering new avenues into space and beyond.

Ten spiny noise-pop jams that occasionally resemble New York contemporaries DIIV, and even bits of early era Cure, in their moody guitar styles.

Earrings Off! is made up of uncompromising stuff that may take some adjusting to, but willing ears will find articulate, distinctive musicality that rewards repeat listens. It might even provide an unexpected earworm or two.

As always, In Glendale is a lot of fun, especially for fans who are prepared to smile in recognition at these songs rather than laugh at them.

All throughout Ripcord, the electronic elements are at the forefront and foundation, but it's to Urban's credit that this never feels desperate or pandering: it's a smooth, logical progression that makes his music feel sleek and mature.

Mixing humor with pointed social satire, Rest in Chaos finds Snider and his group tackling both darker moods and high-spirited rock.

Any listener who has derived satisfaction from Snarky Puppy's live recordings will easily find it here, too. This is the place where musical restlessness and discipline meet creative adventure.

Lyrically, this is among the sharpest and wittiest collections of songs this band has ever released. Add in the similarly fine music, and Solid States demonstrates the Posies have plenty of fresh ideas and great records left in them after three decades.

The album isn't perfect, but at their best, Kikagaku Moyo excel at their unique, thrilling brand of psychedelic acid folk.

With Mosey, Daniel Romano leaves no doubt that he's got the talent to bring us something worth hearing regardless of the approach he takes, and if the sound of this set is something of a surprise, the quality is certainly consistent with Romano's best work.

For a band that has consistently switched up their direction with each successive album, the biggest surprise is not that To Be Everywhere Is to Be Nowhere once again manages to add fresh ideas to the Thrice catalog, but that a band 17 years into their career still has new directions to travel.

Considering the disparate source material and the quantity of vocalists, instrumentalists, and producers involved, it's remarkable how smoothly the album flows from one track to the next. Unsurprisingly, it's most appealing to fans of Glasper and those he involved.

Sometimes, the duo's soul-searching is too insular for its own good, and the revved-up finale, "Whirling Eye," feels like it's from a different album, but more often than not the Kills turn what could be seen as weakness into artistic strength. Even if they're lacking some of their expected swagger, it adds truth to Ash & Ice's portraits of what remains after the worst happens.

Ultimately, while 7/27 isn't quite as loose or as fun as one might hope, Fifth Harmony prove they can balance youthful swagger with grown-up sophistication.

Rain Crow doesn't blaze many new trails for Tony Joe White, but it leaves no doubt that he's still the king of his own swampy sound, and he's not getting older, he's getting deeper.

For anyone who appreciates the original, this offers a deeper revelation of the process in and context of Reid's classic.

Ultimately, while Metheny is the undisputed leader here, it's the thoughtful interplay of all the Unity Group's members that makes these sessions so involving.

While it's clear that Fear of Men are branching out and exploring different sounds and techniques on this album, the warmth of the first album is missing, and the songs don't always benefit from the experimentation.

Inner Journey Out isn't made for all listeners or all purposes, but anyone interested in a journey down a peaceful river of sculpted sound is advised to investigate its properties.

Though it feels disjointed at times, at its best Kin captures the emotional impact of changes and their aftermath.

While case/lang/veirs doesn't approach the greatness these women have managed on their own albums, it does offer more than a few beautiful moments they could not have achieved on their own. The result is a fascinating, rewarding experiment that deserves to be repeated.