Oddisee is a pro at boiling a whirlwind of thoughts and emotions down to concise, relatable songs, and To What End contains some of his most deeply personal work to date.

Wispy, strings-and-chimes-enhanced indie popper "All Over" is contrasted stylistically by the pop slickness of "Climbing Trees," which is replete with synth shimmer and vocal processing. Throughout, however, punchy hooks and melodic "whoa-ohs" accompany lyrics delivered with an ever-present frown and the suggestion that the title Supermodels was chosen to evoke alienation.

Lofgren doesn't shy away from big emotions -- one song, "Nothin's Easy," is explicitly dedicated to his wife Amy, who also serves as the album's co-producer, yet many of the other tracks feel informed by their relationship -- and that open-heartedness is the key to the album's success: it enlivens the studio precision and gloss, giving it a warm human pulse.

Rajan might not quite reach the top rank of modern psych albums -- "Nightmare" hews a little too closely to blues clichés and the occasional bit of editing could have been done when the tracks started to drift too much -- but Blackwell has made a strong and never less than interesting step in that direction. Even if he swings back to the more well-known Night Beats formula, this will stand as a fun experiment at the very least.

Super Snooper puts enough of a fresh spin on the standard tropes of punk to make this exciting, without sacrificing the satisfying energy at the core of the sound. As a first major salvo from a band on the rise, this is highly promising and a lot of good, noisy fun.

Less serious-feeling moments like "Zombie World" and "This Isn't Funny" call back to the juvenile spirit of early Half Japanese, but the majority of Jump into Love finds Fair and his band communicating messages of joy and promise with strangely heavy tunes that don't quite sonically match their optimistic sentiments.

The result is Georgia's most accessible album to date, although it does feel like some of the unique qualities of her earlier releases have been compromised.

Nobody expects him to go back in time and deliver another classic album like Too-Rye-Ay, but it doesn't seem too much to ask for him to make a record that has more zip than this. That being said, it's always good to get another transmission from the heart and soul of Kevin Rowland, even one lacking the sweat and excitement he usually delivers.

While the majority of the album is breezy and unassuming, the radio-ready pop detailing of "Mona Lisa" cuts through a little more than most, with manicured hooks and sonic sweetening that feel tailored for commercial blockbuster status.

While not among her more tuneful material, A New Reality Mind is a detail-oriented work that engages with its balance of sonic inventiveness and pop reference points. Lyrically, it may also connect with its steady stream of readjusted expectations.

Throughout, these ghostly and propulsive rhythms communicate, divide, and commingle, and are woven through with deep dub effects, avant-jazz, global pop, hip-hop, and woven rhythms drawn from several global traditions spindled, reshaped, and presented anew by the creators.

The EP isn't a game changer, but it bears enough of Aphex Twin's unmistakable personality to be worthwhile.

As with so many similarly powerful film scores, this one offers an enveloping listening experience that doesn't rely on the images it accompanies.

Shires has a relaxed, natural rapport with Nelson that gives Loving You a genuine sense of warmth: this wasn't intended as a tribute or a goodbye, it was merely a relaxed session between two kindred spirits and its inherent modesty makes it quite satisfying.

Crashing Dream ended the Rain Parade's first era on a note of disappointment, while Last Rays of a Dying Sun begins a new chapter in their story with impressive strength and vision, and finds the Paisley Underground heroes still as gifted and capable as one could hope.

Sundial has a harsher tone than Noname's previous efforts, but it still contains many powerful, thought-provoking lines, and her skills as an emcee have never been stronger.

On Intercepted Message he's filled the music with enough frantic energy and lyrical urgency that this clearly comes from his musical imagination, even if it explores new territory, and as a loving re-creation of the futuristic sounds of the past, it's well worth a listen.

Highlighted by nuanced ballads, a certain amount of sass, and a dramatic title track with arena rock-ready climaxes, it features production by Alexander 23. His approach also includes touches of alt-R&B stylings on songs like "Poison Poison" that help distinguish Rapp's Beyoncé-informed mix of vulnerable and confident contemporary pop.

Gregory Alan Isokov finds the sweet spot between mystical and relatable, pairing simple folk melodies and lyrics that house profound truths.

The strongest submissions make it worth the listen, however, as it's wonderful to hear yet another generation of artists doing interesting things inspired by Drake's evergreen presence.

It's a hopeful end to an album torn between the pain of loss and the celebration of the times they shared.

Road is primarily killer and only a little bit of filler, with Alice tapping into the power he harnessed in his younger days to create a surprisingly inspired collection of new material.

The resulting 11-song set, The Window, is a volatile one that continues a gradual shift in balance toward harsher guitar tones and more energy without shunning the ambling, jangly alt-country that has co-existed with the band's Breeders-revering alt-rock side since their full-length debut.

The songs are tough, the performances are rugged and real, and Eddie 9V is clearly on his way to greater acclaim by following the music that initially, and still, inspires him.

For That Beautiful Feeling has a few minor surprises, but for the most part it meets expectations and ends up another solid, enjoyable entry in the Chemical Brothers' discography.

Each of the performances allows the singer's personality to shine through without obscuring Russell's inherent oddball nature.

Come with Fierce Grace is easy to embrace on its own -- even if some tracks lack distinctive identities. No matter its release as a separate entity, Come with Fierce Grace is part and parcel of GOLD; it's not a mere sequel but a truly worthy companion album.

Cottonwood 2's glimmers of unpredictability are its best parts, and make the more by-the-numbers tracks all the more interesting by offering a contrast.