With 15 songs clocking in at just shy of an hour, Cosmic Wind lingers, but stops short of overstaying its welcome. Instead the album sprawls out in a relaxed bliss, Lion Babe moving confidently through their wide spectrum of laid-back moods and smiling sounds.

Inspired by the disconnect and toxicity of social media, and the general discord sewn when the internet and the ego collide, Egowerk evokes the friction-fueled lo-fi emissions of the band's early days, but with a more measured hand.

Brutalism showcases Pierce's knack for portraying the thrilling and terrifying sides of romance and juxtaposing joyous moments with devastating ones.

Left to her own devices, Tuttle has emerged as a deft songwriter with an open heart, a keen ear for melody, and a flair for pairing dusty folk with Americana-kissed country-pop.

Martha's confessional and lovelorn themes fit perfectly in their revved-up pop framework. Love Keeps Kicking is a crystal-clear presentation of their powers, making equal space for the group's enduring stories of heartsickness, well-crafted pop structures, and blazing guitar work.

What's It Like Over There? sounds like Circa Waves are testing their longevity and aiming for a wider audience, and that's not a bad thing.

Ambitions is somewhat of a slow burner, but it's more cohesive and focused than meandering. Thomas has a masterful way of following his muse, and the album maintains a sense of spontaneity, as well as a casual demeanor, without sacrificing high standards of craft.

The Invisible Light: Acoustic Space is not comfortable to listen to but is nonetheless compelling, and arguably necessary.

While not a low in their catalog by any means, No Geography is also not their strongest or most memorable work to date. It's best not to call it a comeback, just another ample addition to their decades-long discography.

Considering the combination of such talents, it's a wonder that LSD is so good and so fun. While it might be too relentless for some, it's an experience to embrace and enjoy.

By making such a decisive shift in direction, CTE wind up dampening the squalls of White Stripes, Strokes, and Pixies that defined their first decade of records, but that change also emphasizes how the group are at heart pop-pastiche artists, favoring style and sound over a finely honed song.

The band show significant growth here on what is easily their most accomplished effort to date.

While the subject matter may sound heavy, hard-earned lyrics are delivered throughout the album with a relaxed, affable tone befitting the group's twangy, sauntering indie rock.

All the supporting work is understated and studious, ideally compatible with Carner's substantive ruminations.

In all, this is a solid debut full of well-written songs and plenty of attitude that delivers on the promise of her early singles.

It's the final nail in the coffin for their garage roots, but they sound rejuvenated and excited in their unbridled exploration of new sounds.

Even if it's not quite as fully realized as some of their other albums, King's Mouth boasts enough beautiful music and striking imagery to make it well worth hearing, especially for Flaming Lips fans who miss the music they made in the 2000s.

Even when the songs tend towards harrowing, questioning themes, I Love You. It's a Fever Dream still sounds romantic, soft, and even a little bit naïve. The deepening emotional content that Matsson laces into his familiarly sweet songwriting makes this set of songs one of his most resonant and revisitable.

Oh My God struggles to balance the austere with the earthly and would have been a better record with about four or five fewer songs. Still, though, it comes close to its ambitious goals of double-album greatness and the highlights represent some of Morby's most focused and wizened work yet.

While some songs might feel like B-sides and incomplete visions, the band works around these precious vocal fragments so well that listeners might not notice or even care.

Ambitious in a different way than the producer's earlier releases, Song Feel is every bit as close to the heart.

Though France warded off rumors of a band breakup prior to the album's release, it's clear that Foxygen is moving on from the past in dramatic fashion with an album that's part formal complaint and part kiss-off.

It's fun to hear them spend time with the psych-pop of "She's a Rainbow" and get into the murk with "Dancing with Mr. D"--but it's not quite enough to justify a purchase for fans who already have these hits elsewhere. But for those who somehow don't have this music or are looking for a basic overview of the Stones' reign on album rock, MTV and beyond, this does the job.

While Rich's hyperconfident personality is in full focus, The World Is Yours 2 is elevated to a higher plane by its smart production and who's-who of guest rappers.

Emerald Valley isn't the slam dunk that Invitation was, but it's more than good enough to suggest this project has legs, and here's hoping the participants find time to cut a third album sooner than later.

Throughout, the 400 Unit, specifically Amanda Shires, who provides soaring harmonies and some truly emotive violin work, adds considerable sonic heft to the proceedings, and help to imbue Ritter's workmanlike folk-rock narratives with the kind of studio finesse that sometimes eludes him when left to his own devices.

At 40 minutes, this is easily Q's leanest LP. It would be meaner with the removal of the inane Travis Scott collaboration "CHopstix," the uncharacteristic single.

It's bleak and brutal, but it's never suffocating, and it encourages reaction and resistance. There's even some light shining through during "Post-Scarcity Anarchism," when a much brighter, more hopeful melody emerges through the frazzled synths and piercing noise flares. A few ambient interludes somewhat dull the album's impact, but relentless, abrasive pounders like "Futures Betrayed" and "Quantum Unfolding" provide the bulk of the program.