The album puts too much emphasis on its cool side rather than the warmth that truly elevates the music, but there is more than enough beauty and empathy here to make this well worth your time and attention.

A Little More Time sometimes suggests he recorded with this edition of Reigning Sound out of convenience or availability rather than a desire to reclaim the glories of the past. None of that changes the fact that Cartwright is a truly great songwriter, though, and he's delivered 11 winners on A Little More Time with Reigning Sound (as well as a roaring cover of Adam Faith's "I Don't Need That Kind of Lovin'"), played by a band who know his music and give it the expert support it needs.

With just nine tracks, Standing in the Doorway: Chrissie Hynde Sings Bob Dylan feels a bit more like an EP than a proper album, but Hynde's takes on Dylan's songs are savvy and satisfying, and she's more than done right by one of her acknowledged inspirations.

Cavalcade is intentionally oversaturated and designed to knock listeners off balance, and at its best, the album's overpowering rush of sounds and ideas communicates the excitement and a sense of unlimited possibilities.

It's nothing unexpected but it's all effective, from the sturdy song constructions to performances that know when to lean into the muscle and when to let things swing.

Barlow is still in touch with what was best about his old work while maturing in the ways that truly matter.

She optimizes her limited range, but she and Zaks choose to keep the productions, all pleasant and finely rendered, similarly circumscribed in style and tempo.

As a whole, The Width of a Circle doesn't quite add up to much more than an odds-and-sods collection, but then again, that's its appeal. It allows listeners to live within Bowie's 1970, a strange, weird, and absorbing year when he was figuring out his strengths and weaknesses.

As ever, the band's music finds common ground in varying styles and coheres into a singular whole, coming together with a purpose to uplift and celebrate.

Reflection doesn't quite have the shock of the new that For You and I did, but its best moments are still powerful, and it would be impossible to mistake the album for anyone else's perspective.

Booth manages to ground this music while attempting to push it into the stratosphere, a duality that intrigues and chafes in equal measure, so it's good that he's buoyed by a band who give him a sympathetic bed, which is a comfort not only for the singer but for the listener as well.

The Problem of Leisure: A Celebration of Andy Gill and Gang of Four seems designed less as a walk down memory lane for aging leftist post-punks than a tool to make current listeners aware of Go4's ideals and legacy, and though (like most tribute albums) its broad palette makes it somewhat inconsistent, the thinking is fresh, bold, and impassioned enough that it should open the ears of both fans and novices should it cross their paths.

Nowhere Generation may lack the nervy zeal of peak efforts like Siren Song of the Counter Culture and Appeal to Reason, but it most certainly has the gravitas.

Tucker and Brownstein are in the process of figuring out what Sleater-Kinney can do as middle-aged indie survivors, trading their signature catharsis for reflection and mild experimentation. They haven't landed on a solution, but listening to the duo lost within their process is rewarding, feeling emotionally direct even when the angles are somewhat obtuse.

Although Kommunity Service is short, it still shows versatility by approaching various styles track to track.

The nearly hour-long running time drags somewhat, and some songs could have been left off the final cut. Still, The Voice of the Heroes is carried primarily by Durk and Baby's chemistry as they adapt to each other without either of them watering down their individualistic styles.

While the set is a bit of a chore at 19 tracks (24 on the deluxe version), it's still not as bloated as Culture II. Yet, it could use some trimming if only to clear the clutter that distracts from the solid highlights.

A debut album that maintains a warm, analog feel and the nuanced vocal performances of a seasoned performer.

Having been in the game for ages, Jones and Miller remain as keen to discovery as they've always been, and their debut full-length is engaging in the way it constantly teeters between the familiar and the unknown.

Despite its occasional uneven moments, Boy from Michigan is a frequently brilliant album from a gifted stylist and songwriter who never stops challenging himself or his audience.

Modest Mouse's finest work since Good News for People Who Love Bad News.

The care and intention applied to all aspects of Earth Trip make it the lightest set from Rose City Band to date, sustaining a mood that's consistently joyful and relaxed, even through various fluctuations in energy and emotional intensity.

As with Cabral's previous album, The Turning Wheel has several standouts along with a handful of other tracks that don't leave as much of an impression. However, this is undeniably her best-produced work yet, and clearly demonstrates her impressive growth as an artist.

Considering how quickly the album came together, it feels like a spontaneous rush to translate the emotions of being away from dance clubs for a year into music, with hope and anticipation winning in the end.

While Half Waif's cinematic, keyboard-based atmospheres have generally expanded with each album to this point, they reach another level of vibrancy and drama on their fifth album, Mythopoetics. Partly written by project leader Nandi Rose during the COVID-19 outbreak -- its predecessor, The Caretaker, was released in March 2020 as much of the U.S. was locking down -- it adopts a less familial, more philosophical outlook while remaining distinctly personal.

Treasure of Love isn't a pathbreaking masterpiece for the Flatlanders, but that's not the sort of album they were likely to make at this point in their lives. Instead, it's an affirmation of their friendship and their love of music, and if you've ever cared about any or all of the group members, this will make you very happy.

This easygoing, smooth, and poppy record stands tall next to their finest work and only comes up a little short because it lacks the one or two killer songs that make their best albums really pop. Still, it's a nice addition to their catalog and perfect for fans of loud but not too loud, wild but not too wild, modern rock & roll.

Sob Rock is a pleasant album whose thematic '80s affections add some stylistic flair to Mayer's laid-back songs.