Throughout, very human lyrics, wistful intervals, a mechanical palette, and components that are sometimes altered to confuse organic and inorganic make for an elegant synth art-pop. Like the world her lyrics inhabit, it is icy and intimate at once.

One might reasonably expect that a more mature edition of Belly would seem less fiery than what they delivered back in the day, and the craft of this album is all one could hope for, but there's a bit too much drift and not enough clear focus for Dove to qualify as a true return to form.

Turner nails the concept, wallowing in warped dreams and painting widescreen soundscapes, but the foundation is wobbly; at a glance, it's impressive, but the slipshod details reveal themselves upon close inspection.

If Shakey Graves sometimes seems to overplay his arty hand, pushing the record toward the brink of murk, it's the price of ambition and there is much here to admire.

While Middle Kids showed plenty of promise on their 2017 debut EP, Lost Friends is where they show they can make a proper album and actually improve on their bag of musical tricks, and it's a strong and engaging work.

The album's pace slows down a bit in the second half, making it seem a bit front-loaded, but the swagger and tuneful songwriting that hooked fans in the first place remain in full effect here.

Those who are open to hearing the band take on a variety of styles and bend them to their will should be very happy with Wide Awake! Those who want the band to crank out an album of just bitter, bopping punk may have to wait until next time.

There's nothing fashionable about the Sea and Cake's music, and therein lies much of their charm.

All eight compositions do a fine job of painting audio portraits of locations one might remember from childhood, with each maintaining a distinct character, but also resembling background scenery. Recommended for fans of Robin Guthrie's solo albums who are in the mood for something just a little bit less hazy or drowsy.

This album is smart fun from a band that actually makes something fresh out of the sounds of the past, and as long as La Luz keep doing that, they'll be worth hearing.

Mark Kozelek is as long and rambling as one would expect from the singer/songwriter, but his mixture of poignancy, humanity, and levity continues to make his music worth hearing.

At 13 tracks, Let's Make Love drags just a little, especially in its first quarter, but as a whole, it's a welcome comeback from an enduringly creative act.

The melodies are engaging, and the turns of phrase are typically sardonic, with song highlights arriving via the breezy but narratively decadent "Everybody's Coming Together for the Summer" and the winking opener, "Angry Man on a Small Train." It's also nearly impenetrable for anyone outside of the U.K., as it's immeasurably steeped in the region's culture and vernacular.

Success may have almost spoiled Puth, but it fueled his upward creative swing.

It's an aural lava lamp, kicking up slow-bursting explosions of texture and sound.

The most impressive thing about Love is Dead might be that as big as its sound gets, Chvrches never lose touch with the humanity that's at the core of their music.

Like its predecessor, the album revels in the dark and danceable timbres of English, German, and American clubs circa Joy Division, Suicide, early Cabaret Voltaire, et al.

Their playing is energetic and in good spirits, and most importantly, their positivity never sounds forced or unnatural. They're not acting like clowns and forcing anyone to smile, and they never sound too eager to please. They're simply having a good time and making relaxed, not-too-heavy boogie rock fit for a summer gathering or a road trip through the desert.

If Tomorrow's Daughter isn't a great Matthew Sweet album, it's most certainly a good one, featuring a batch of strong songs played with genuine skill and commitment by one of the most distinctive artists in contemporary power pop. If you liked Tomorrow Forever, you'll enjoy the sequel, and even if you missed the first installment, this is well worth a spin for pop obsessives.

Argonauta is, by the nature of its inspiration, a brooding work, but it's also a comfort, providing a place to sit amongst warm tones, elegant harmonies, and pensive understanding.

While challenging, the album seems to symbolize a struggle to achieve balance and harmony, and the results are frequently exciting.

Emotionally effective but quite different from anything he's done prior, it's an endearing, rewarding peek into Davis' interests outside of his day job.

It doubles down on his distinctively mellow, '60s- and '70s-vintage sound. This time around, after demoing the songs with a four-track tape machine, he borrowed an eight-track reel-to-reel recorder to capture the official takes with his band.

The EP is classic Mazzy Star, showing none of the ravages of time one might expect and still making beautiful music that weaves a spell that's hard to break.

No Shame isn't a soundtrack to party. It's music for reflection, and coming from an artist who made snark her specialty, that's a step forward.

Flasher appear to have arrived fully formed, with a deeply satisfying debut that's both coherent and imaginative.

While not as immediately appealing as his prior releases, Nothing Is Still is clearly designed to be appreciated through multiple listens, and it's ultimately a work of considerable depth and feeling.

It's heartfelt and gutsy, performed without flash but with steely spirit, feelings that elevate Blow Your Mind above many of the other records in Johnson's solo discography.