While the show itself is clear about its influences, its soundtrack manages to do this too, while ultimately culminating as an in-depth and invigorating piece of atmospheric electronic music.

The casual, lived-in feel of American Love Song makes such political protests as "America" feel a little too blunt, but instead of being a flaw, its directness is a benefit, since it shines a light on how subtle and nimble the rest of this terrific record is.

Jennings and Carlile also direct Tucker toward a few outside covers, including the rousing "Hard Luck" and "The House That Built Me," a Tom Douglas & Allen Shamblin song popularized by Miranda Lambert, that add texture and deepen the emotional undercurrents flowing through the record. When combined with the Carlile/Hanseroth originals, these tunes paint a portrait of a mighty artist who has been through a lot but is fearless about the future.

Korn have always excelled at pain, but with The Nothing, this is the most authentic it's ever been.

Pilgrimage of the Soul is at once a sonic portrait of everything Mono has ever been, yet looks toward a future rife with possibilities as increased physical and sonic force are tempered by graceful subtlety, tense drama, and haunted lyricism.

Perspective displays how her music has evolved from its roots in club culture to the realm of contemporary composition, retaining such a distinctive sound that the boundaries crumble.

Song for song, this is some of Speedy Ortiz's best work yet.

With Open Your Heart, the Men achieve the elusive balance of growing their sound without diluting the intensity and attitude that made them great in the first place, weaving together their influences with fresh ears and a nuanced touch, making for one of the year's most satisfying listens.

Attack on Memory is another fine snapshot of a band that is growing and playing as fast as they can.

An uncommonly rich and moving album.

Punk without guitars has been done before -- everything has. Few have done it with the blend of skill, imagination, and flat-out commitment that Osees exhibit on SORCS 80.

While Yellowcard's songs still retain the youthful, emo-rock enthusiasm and catchy melodicism that marked the best of their earlier work, there is a weightiness and expansive gaze to many of the songs on Southern Air.

On The Violent Sleep of Reason, Meshuggah set out simply to capture the energy of their live shows in the studio. They accomplish that in spades, and reaffirm why they don't need to worry about innovation: their writing and playing accomplish that in their very nature.

The Goat is full of daring approaches, intense performances, and skillfully constructed songs. Its best tracks give a sense that Polo G, already a captivating talent, is capable of even greater things.

If you're a historically minded Lou Reed completist, Words & Music, May 1965 is a must. Others are advised to approach with caution and keep their expectations in check.

With its loping, relaxed grooves and patina of sweetened strings, $10 Cowboy could be mistaken for a product of FAME Studios in Muscle Shoals, not an album originating from a small studio in Austin, Texas.

Some tracks are easier to digest than others, and the frenzied energy of much of the album might make Dan's Boogie a less-than-ideal starting point for new fans. Paradoxically, some moments here (in particular "Cataract Time") rank among the best work in his catalog.

For anyone expecting the cheeky fun of her 2000s gems, there's no mirth to be found here. It's purely righteous anger, biting sarcasm, and cutting barbs, all draped in pain and disappointment. The bloodletting is cathartic and unexpected, making this a surprising maturation that makes Allen as relatable as she's ever been.

Skeleton is one of the more interesting releases of the summer, and proves that Abe Vigoda are more than worthy of joining their peers in the spotlight.

For those willing to take this on its own terms, the payoff for listening is enormous.

The resulting Love's Last Chance does evince a more direct step on a surface level. Pacific rhythms with squiggling synthesizers and casually bobbing basslines course through it, with not one flashback to the wrought, jagged edges and stammering patterns of Early Riser. There's a nearly equal increase in the musician's stylistic agility.

Horse Lords make music for liberation, celebration, and revolution, and The Common Task is a prime example of their all-encompassing vision.

The different sounds and scenes add up to a rich, complex album, one where Lambert finds the perfect blend of the writerly The Weight of These Wings and the breeziness of Wildcard.

Highway Prayers is too long -- there is a fantastic 40-minute album in there -- but it's also a lot of fun, and it may take a young superstar like Strings to bend and stretch bluegrass enough to deliver it to the masses.

A stellar effort from both producers, Implosion pushes ambient dub to the limit.

Lavender Networks almost feels like a successor to Aphex Twin's Come to Daddy because of the way it juxtaposes surreal aggression with a softer, more sensitive side.

It's not always an easy listen, but These New Puritans have made a career out of challenging themselves and listeners, a worthy pursuit that they continue here.

King Gizzard's inventive sound, giant hooks, and hard-as-titanium playing make Nonagon Infinity not only their best album yet, but maybe the best psych-metal-jazz-prog album ever. That can be debated, but at the very least artists like the Flaming Lips, Ty Segall, and others who think they are doing something cool and weird should check it out and take a few notes.