It's tender and sad without any of the distance that he sometimes puts between himself and his listener, instead offering just a few uncluttered country-leaning songs that are simple, direct, and a little bit lonely.

Sonically adventurous and rich with experimentation, Petrichor offers plenty to admire, even if the songwriting sometimes takes a backseat to the production.

A few of the pieces are a bit more abstract, such as the meditative "Illuminations," the title cut to Devadip Carlos Santana and Turiya Alice Coltrane's 1974 collaboration (which remains strangely overlooked within both legends' catalogs), or the performance art avant-disco of Justine & the Victorian Punks' "Still You," a 1979 Peter Gordon production. Otherwise, the group tend to focus on relaxed yet sophisticated pop with a bit of a funk tinge to it.

It's heady stuff, but Wallace and company imbue the proceedings with so much heart and soul -- and considerable pop acumen -- that the compulsion to hear and see where this sci-fi Canterbury Tales will go next never abates.

All too often, this type of record can become bogged down by its own reverence for the period it seeks to re-create, but on Introducing..., Frazer manages to overcome the vintage doldrums with good songwriting and top-notch arrangements.

As anything he's ever given us, full of straightforward, cheerfully impassioned rock & roll with some garage rock and psychedelic touches to keep things colorful, coupled with Fair's individual lyrical outlook. Still talking more than he sings, Fair is much better at bringing the listener in than he was in his earlier days, and his tales of favorite horror movies (both real and imagined) have a homey, less obsessive tone that works in their favor.

The album creates beauty out of fear and uncertainty, and it's among Laura Veirs' most personal and satisfying works to date.

It's a thrill to hear Martin stimulate hip and neck movement again. His juddering drums and cone-toasting bass frequencies are dispensed with more clarity and crispness than ever, while the swarming ambient FX are in full effect, never quite overpowering Dis Fig. Only on the closing "End in Blue" does the voice of Martin's partner dissipate, and once it does, it's already missed, prompting an impulsive rewind.

It's not completely accurate to say that these songs are more immediate than the pair's earlier material, as they still tend to slowly unfold and reveal themselves, but there are certain vocal melodies or lyrics that leave more of an impression this time.

Taken together, it's a fun, adventurous half-hour set that will likely leave those who stick with it wanting more.

The duo end up complementing each other brilliantly, as their ideas flow spontaneously yet are executed with precision, resulting in a genuinely free-spirited, joyous work.

Not quite as malevolent as the title indicates, it's a little more openhearted than Faiyaz's earlier output, but it does contain flashes of the cynical outlook and more of the remorseless (if sensitively delivered) slow jams for which he's known.

The distorted thumps and dislocated bass of tracks like "UN Sanctions" are intense and mesmerizing, and additional touches like the whooping vocals of "Immortal" or the trancey synths of "Why" elevate the energy level even further.

"Blue Deal" is much more easygoing but still intricately arranged, playfully juggling drum breaks and James Brown samples into a funky audio puzzle. Not every track on Second Language keeps up this level of curious energy, but its most exciting moments are concentrated bursts of sheer otherworldliness.

The record works as a tribute to the music of Michael Yonkers, hopefully inspiring anyone who isn't familiar with his work to do some investigating, while also providing Dwyer with the creative boost and general head clearing he needed. Best of all, it's a blast of an album that fuses what's great about Damaged Bug and Oh Sees into one giant behemoth of sound and vision that's impossible to ignore.

The seven songs maintain a consistent approach, hovering between terror and transcendence for the albums' duration. ... To maintain this type of tension and still create a listenable, even beautiful album is a rare feat, and exploring this tension is one of the factors that makes Ballet of Apes such an interesting listening experience.

Leading up to the album's release, the band issued a statement that cited "post-punk, new wave, mariachi, new-wave mariachi, dub, hip-hop, and goth rock" as influences, and while there is some evidence that those disparate genres have infiltrated the sonic ecosystem, the unwaveringly idiosyncratic Five Dreams never feels like anything but a Carey Mercer project.

Going against the grain of both pop and club music, Park's songs are intuitive expressions rather than obvious floor-fillers.

Cut live to disc without the possibility for edits or overdubs, mistakes get made, but none get in the way. Make no assumptions, though: Night Dreamer is not a free-for-all jam; the music and charts here may be uncomplicated but are also tightly arranged and sophisticated -- everything is in its proper place, including the grit and grease -- placed in service to the almighty groove, with no room for overplaying or peacocking.

The album is celebratory rather than mournful, channeling the positive, creative energy of these spirits and honoring the fleeting miracle of life.

The Bats' ability to achieve beautiful new results by returning time and again to the same specific set of sounds and inspirations remains one of the best things about the band.

Curiously [on the final track], the drums briefly mutate into skittering drum'n'bass breakbeats before everything goes silent, approximating the sensation of suddenly being jolted awake from a vivid dream. Moments like these keep the album intriguing, and they resonate more deeply with repeated listens.

Altogether, Edge of the Horizon is a pleasing trip through the psychedelic that bridges the vibes of a past era with sharp production, providing a calming comedown to balance the rest of Groove Armada's catalog.

Evermore as a whole doesn't play as a sad album. Swift enjoys playing with the new musical and emotional colors on her palette for Evermore to anything but a warm balm, a record suited for contemplation, not loneliness.

As a collected album, No Fun Mondays is a bit of a lark, unexpected in its energy but not its contents. With two notable exceptions, Billie Joe Armstrong chose tunes that stay well within his punk-pop and power pop wheelhouse.

While the slower songs are fine, sometimes sincere, the growth on Wonder is all evident on the livelier tunes, all of which point toward a more adventurous twenties for Shawn Mendes.

Universal Beings E&F Sides is, therefore, not only a fine follow-up, but a visionary outing of its own that also stands as required listening for post-millennial jazz fans.

El Último Tour del Mundo is Bad Bunny's most adventurous outing. With so much going on, it may take longtime fans a few listens to fully grasp, but the record will ultimately leave its infectious hooks, earworms, and strangeness fully embedded.