On Can't Touch Us Now, the smarts and the songwriting are closer to the forefront, and it's a fine showcase of what they still do well.

Honeymoon on Mars isn't up to the level of the Pop Group's finest recordings, but it's still punk/funk agit-prop that's fearless and unafraid to strike, and if anything, their brand of troublemaking is more deeply needed now than ever before.

Leaps beyond predecessor Stomachaches, Parachutes benefits from its creator's inner turmoil, providing as much emotional support to Iero as it does to listeners with similar struggles.

The moody astral tones of opener "Good Mourning" get the album off to a slow start, but in general there are plenty of standouts scattered throughout Third World Pyramid that could stand up to BJM's best work.

Bon Jovi and Shanks may not have done much to freshen up the band's sound--they don't take any mid-2010s musical trends into consideration--but that simmering defiance does mean this is the band's liveliest album in years.

On the ambient side, tracks often play into one another with quiet transitions, making single-track play potentially abrupt.

Redemption & Ruin is a fine covers album: it not only illuminates and adds new dimensions to these songs, but it unmistakably reflects the Devil Makes Three's musical persona, making it a welcome addition to their catalog.

It's a bit of a mess at times, but there's no denying that Crying's sense of fun is a major part of their appeal.

For all its emphasis on the past, Stripped sounds like a step forward.

That one track ["Canna-Business"] aside, Brotherhood of the Snake is not only on par with Testament's best records during the millennium thus far, but ever.

From front to back, the quality is so balanced that there are no obvious peaks or lulls, though the tracks that incorporate harp and harpsichord stick out a little more for their uniqueness relative to standard soul-funk revivalism.

Even if Slugger might appeal more to Speedy Ortiz fans than Top 40 diehards, hearing Dupuis seek intimacy and independence is never less than pithy, fun, and thought-provoking.

Pavo Pavo have achieved a collection that eschews the obvious, being undoubtedly hip yet simultaneous geeky in its references, and the resulting work is a real gem.

XAM Duo is a synth lover's dream, a calming balm to the hectic hustle of modern life, and a trippy excursion into the futuristic past.

Highway Songs encapsulates Pajo's life experiences into a poignant travelog, and considering all that he's been through, it's a life-affirming work.

It's easy to stand on the sidelines and say that a more streamlined, ten- to 12-track version of the album would suffice, but one of the many things that's helped to make Hersh such a singular talent over the years is her unwillingness to compromise, and on that front, the punishing and beautiful Wyatt at the Coyote Palace doesn't disappoint.

Romare's disjointed sound takes some getting used to, but it's often bewitching, and Love Songs, Pt. 2 is his best effort yet.

It's an exhilarating rush, and even for a band that had never made the same record twice, it comes as a bit of a shock after the Men had been inching toward sounding like Bruce Springsteen or Tom Petty.

With their debut album, E create urgent music for chaotic, uncertain times.

Even if Woman sometimes sounds more like two EPs than a cohesive set of songs, it's still an enjoyable album--especially when Justice use their flair for looking back creatively.

Lady, Give Me Your Key contains expository notes by Thomas as well his in-depth interviews with Beckett and Yester. The sound is far better than acceptable considering the original sources, and the material is a true boon for Buckley's most devoted followers.

With Familiar Touch, DIANA continue to excel at writing songs that are soothing yet scarring.

With On Dark Silent Off, Radian sharpen their difficult sound into something more urgent and alarming than it ever was before.

Stage is more Operation: Mindcrime-era Queensrÿche than it is Muse, and for all its opining on nanotechnology and interstellar travel, it still feels rooted in heavy metal tradition.

Doherty's solo career has resulted in some of his most rewarding music even if it's not the most attention-getting, and fans who have stuck with him this long will find a lot to enjoy on Hamburg Demonstrations.

Classical Indian music is thoroughly interwoven with '60s psychedelia and pop--and the two are different, with the first emphasizing texture and the second structure--giving Elephant Stone a shimmering, off-kilter quality that's alluring.

They prove to be naturals at soundtracks, creating something here that works like they said it would. While no doubt the score would work in perfect tandem with the film, it stands alone as a sterling example of the band's mastery of psychedelic music.

No Exit is immediate; even raw in places. It's committed to the truths inside the songs, not an iconic performance (as 1990's Blazing Away was). For that reason, it belongs on every Faithfull fan's shelf.