It was obviously inspired by the live recordings of Lynyrd Skynyrd, and it blisters. Despite the single misstep, Live Rain is a worthy stopgap between studio recordings.

For all its sonic "ambition," Phosphorescent Harvest is a mess. It's a collection of songs without a unifying center.

Dawn Golden merges crushing emotional currents with innovative production for a debut that's bold and crisp, if somewhat harrowing in its darkest moments.

The album might scare off some fans who were reeled in by his perky pop songs, but it might find a home with those who like their pop seriously murky and gray.

While no attempt was made to faithfully imitate the Floyd versions, Haynes still skillfully echoed David Gilmour's elegant and graceful guitar style, while drummer Matt Abts turned "Have a Cigar" in a delightfully funky direction.

While it could be argued that listeners don't turn to Buckcherry for variety, it is nevertheless a welcome sign of inevitable maturity for these legendarily sleazy L.A. scuzz rockers.

Even though Tape Loops feels cold and wintry and with a hint of melancholy or regret, it's still a soothing, reflective, refreshing listen.

It has to be said that the overall experience is far from Yung's magnum opus, but it is the sound of a young band finding its feet in a meaningful way, breaking down past experiences, and creating a record that isn't restricted by preexisting ideas of youth.

Over There That Way doesn't seem like the obvious path Heliotropes could have taken after A Constant Sea, which is to its advantage, demonstrating Numsuwankijkul isn't just a one trick pony.

Ultimately, Friends is a focused, clear-eyed album that finds White Lies trading some of the sprawling ambition of Big TV for the infectious pop urgency of their debut.

It’s as consistent and bombastic as anything in their catalog--making it a good place to start for newcomers, too.

Sundara Karma have talent, ambition, and youth on their side, but so do a lot of other rising bands. In the end, it's personality and distinction that endure.

Lemon Memory is a subtle, yet solid step forward for Menace Beach as they move to separate themselves from a now-crowded field of '90s-indebted acts.

Trigger Complex is a late-career gem that's both resonant and a shit-ton of fun, and its lack of any sort of agenda is its greatest strength.

Tthis is a surprisingly listenable and emotive album, layering a wall of guitars, pounding drums, atmospheric textures, and a decent mix of bloody screaming and gang choruses.

Thanks to the sincerity and strong melodies that have been Maximo Park's mainstays since the beginning, Risk to Exist combines good intentions with good music.

Hatfield is a sharp record-maker, understanding when to let harmonies pile up and when to let analog keyboards set the tone, a gift that turns Juliana Hatfield Sings Olivia Newton-John into a sumptuous aural pleasure. The album is also compelling as a testament to the power of fandom, illustrating how this kind of love is sustaining and creatively nourishing.

At their best, Chromeo are a big, dumb party, the embodiment of guilty pleasure much like the cheesiest moments of the '80s hits they emulate. But a few choice songs, special guests, and Chromeo's studied arsenal of '80s signifiers can't keep Head Over Heels from growing tiresome, absent the hooks required to keep the party going.

In hindsight, it's possible to hear some of the profound loneliness of Liars' next album TFCF and the disorienting washes of Hemphill's subsequent work as Nonpareils in this score, and for that reason alone, 1/1 is more than just a commissioned work--as much as any one release from this band could, it sums up their approach and points the way forward.

Phantastic Ferniture shares a certain retro spirit and thoughtfulness with Jacklin's work as a singer/songwriter, even though others are involved in the writing here, and even when it's trying not to think too much.

For fans of this particular era, ShadowParty's debut offers welcome satisfaction, breathing new life into the familiar with fresh ideas and a freedom unhindered by the burden of the beloved acts from which they originated.

Balancing restraint with a keen ear for pop-friendly hooks inspired by Jack Antonoff, Dizzy manage to make quite the opening statement with Baby Teeth.

Love Me/Love Me Not is a conceptual step forward for Honne and a compact journey through the highs and lows of love, instantly relatable to anyone who's ever experienced such a human journey.

All of this works nicely, and reinforces the notion that at over twenty years into their career, Papa Roach are handling maturity pretty well.

With DNA, a revitalized Backstreet Boys exude an assured confidence, taking enough steps forward to continue their pop maturation without ignoring the hooks and harmonies that carried them all this way.

Simulcast could be thought of as the more "background music" version of Weather, but even without lyrics, it's still meant to put your mind in motion. Both versions are equally worth the roughly half-hour it takes to listen to each.

Thompson was a capable performer from the start, and Heartbreaker Please demonstrates he's improved with the passage of time, while his songwriting has also gained a depth that comes from a lived life.

It's not an ambitious album, nor one of Hayman's best, but it's as cozy and welcoming as its title suggests.