I Wanna Go Back to Detroit City makes it clear Andre Williams still has a lot on his mind, and time hasn't dulled his impact one bit.

Blending experimental excursions and more straightforward synth pop throughout, Throws isn't challenging so much as eccentric, and overcomes a thread of grayness with a spirited fancifulness.

A consistently brooding and steadily paced set, The Exodus Suite plays like a set of torch songs, but for humanity's sense of well-being rather than a romantic lost love. Occasional imperfections from the live recording process lend extra doses of humanity to the eerie proceedings.

U is quite an accomplished full-length debut from a talented producer.

Colvin & Earle plays more like a detour for these two artists rather than the beginning of a long-standing collaboration, but the enthusiasm here is honest and the result is a good week's work that leaves room for a sequel.

Jackie Lynn feels like the audio equivalent of a gripping short story or film, and whether it's a cliffhanger or its own entity, it's an engaging, suspenseful tale.

It's challenging and confrontational, but it's still engaging and relatable. Bracing and personal, What One Becomes is some of Turner's most intense work yet.

A record slicker and straighter than its predecessors. Call it maturation as much as a shift in aesthetics.

While Gonzalez still hasn't hit the perfect balance between her experimental leanings and undeniable pop skills, Liquid Cool turns the strengths of her debut and One Second of Love into her most consistent album yet.

Last Year Was Complicated feels assured in a way its eponymous 2014 predecessor did not.

Half the fun of the album is listening to the oddball ways he twists words and sounds into his own slack language. The other half is taking up oddly cozy residence in BRONCHO's unique world of underwater doo wop, naptime pop, and energetic inertia.

It never gets boring, it moves quickly, and it often hits lofty heights where the melodies, music, voices, and beats all combine as one to do what the best dance music does: Transport the listener to a sweaty, uplifted dancefloor packed with like-minded revelers.

At times, Hollingworth and Walton's freewheeling experimentation gets a little too chaotic, but I, Gemini is an adventurous debut filled with moments of surprising beauty and humor.

Anybody looking for a straight-up document of Young & the Promise of the Real may very well be disappointed--all those pesky critters keep getting in the way--but Earth is better because of its inspired madness: the weirdness isn't merely a reason to listen, but it elevates the album to the status of one of Young's genuinely inspired nutso albums.

The album retains Dear's personality while dutifully serving its function.

With The Digging Remedy, Plaid remain eclectic as ever, keeping their oddness and exploratory nature intact.

Some moments are so bleak that they could be titled descriptively as "What Does Your Witch House Look Like, Pts. 1-2," yet the whole thing sounds like it was created in a state of fevered inspiration.

Even if The Magic doesn't always hold together, it still delivers moments of pure anarchic fun.

Though darker than her previous albums, Undercurrent is also more resilient. Jarosz reaches through her musical and personal histories with vulnerability and willingness. She comes out on the other side with songs that possess narrative savvy, melodic invention, and a refreshing sense of self-assuredness.

While the added mainstream polish, hooky melodies, and guidance from blink-182's bassist do make No Grace sound distinctly like a big pop-punk record, PAWS' attitude here is ultimately more sober as they trade in some of the wit and exuberance of their earlier outings for more adult-oriented themes.

Mumford & Sons proceed with intention, making this into a listen that's not only more compelling than their 2015 full-length, but one that suggests ways they could grow.

Far from being an album for wallowing in the depths of grief, True Sadness is a record about the emergence of hope.

With just the right mix of nostalgia and looking forward to what's next, Hot Hot Heat puts a neat bow on the band's career.

Ultimately, Thick as Thieves plays like a heartfelt love letter to Temper Trap's fans who have stuck with them since Conditions.

Ibifornia comes with enough funk and cool from guest vocalist Cat Power that it could be the spiritual sequel to the Tom Tom Club's debut album, plus all the faux exotica, busy soundscapes, and chugging basslines suggest the Swiss duo Yello.

Sequence and flow, moods and styles, all form a coherent whole--albeit one that might have used a tad more judicious editing. But it's hard to fault a band for trying new things, especially when what they deliver is an album with far more hits than misses.

Depending on listeners' patience, however, The Bride's slower second half may be hypnotic or dreary.

The record is so personal that the only one able to understand every layer is Hynes himself. As a result, Freetown Sound can come across as weighty, indecipherable chaos to some. But for anyone who can relate to him on some level, it's hard not to be in awe of a man as complicated as Devonté Hynes being able to compose such an insightful, personal experience.