Fittingly, it feels almost more nostalgic than modern. Young's voice quivers slightly and by supporting himself with just a guitar, he seems slightly fragile, a quality that gives these simple, straightforward covers a subtle new dimension.

Stripped of any studio sheen, the songs hearken back to the siblings' early work when they were still sculpting their heartfelt hipster hobo aesthetic.

Hard Luck Stories is evidence Richard & Linda Thompson's union was more than worthwhile. However things ended, they created something truly special, and this is as consistently excellent and rewarding as any box set of the past decade.

Blue on Blue shuts down any arguments that Simmons is a dilettante when it comes to performing; she's an artist who has made a satisfying and expressive work of art not once, but twice.

Empty Horses is an unexpected shift from a firmly established songwriter. Sprout retains the best parts of his musical personality while evolving into unfamiliar places, learning some new tricks, and spinning an excellent set of new songs in the process.

Though Cook creates both of Apple's sides ably, juxtaposing them keeps the album engaging and makes it a successful entry point to his music. Happily bridging the gap between synthetic and organic, Apple is one of Cook's most satisfying obliterations of the borders between genres, authenticity, and artifice.

While it might seem like there's a little too much going on here, the top-notch production, artistic collaboration, and devotion to the space-age vibe results in a satisfying and unexpected gem.

From radically manipulated samples to original compositions played by live musicians, no particular method suits Arrington best here. The highlights fall across the spectrum.

Find the Sun is filled with insightful, poetic lyrics that reward attention, but the overall vibe of the album is best suited for a more meditative, perhaps semi-conscious state, allowing the sounds and rhythms to wash over you.

Nas is more ruminative and measured, like he's found his stride again, even as he flagrantly contradicts himself and waylays men and women with relationship advice that rings hollow. Going strictly by the conviction and feeling in each line, King's Disease is the MC's best work since 2008.

A curious misfire that trades strength and confidence for second guessing and stylistic uncertainty.

On An Evening of New York Songs and Stories in 2019, she reminds us she's more than lived up to her promise and remains a quietly charismatic performer with plenty of songs worth hearing.

It's just as weird, fiery, hooky, strange, and avant-punk as anything they've released; the unbroken hot streak they're on continues to throw off sparks like an overheating amp that's about to catch fire.

Breach, is an inward-looking set of songs written during a deliberate period of isolation. Later recorded in Chicago with producer Brian Deck and Steve Albini, its slightly more expansive sound is evident on tracks like the lush "I, Nietzsche" and spiky "Alapathy."

Nowhere near their best effort, What Is There still manages to retain enough of the widescreen essence of its predecessors to transcend its fixation on sonic baubles.

Musically dense and emotionally candid, the risks Cults take on Host make it a grower that embellishes on their strengths with flair.

Even with the R&B-leaning roster of guests -- Jill Scott and Snoh Aalegra are also on board -- Alicia is Keys' most moderate work, seemingly hedged with an objective to appeal to as many listeners as possible. There's at least no doubting the artist's intent to heal and uplift, and she puts it across with some of her most nuanced vocals.

For all of Orca's nods to heavyhearted ennui, its expressions of despair, regret, and disappointment fail to rise above vague, superficial levels.

Thoughtfully conceived and crafted, Baudelaire & Piano is another bewitching example of what a sensitive and creative interpreter Susanna is -- she lets all the nuances of the poet's words shine through while remaining true to her own muse.

Like other Uniform records, Shame is bleak and chaotic, but feels unmistakably honest and true to life.

They work to offer yet another unruly, unpredictable dimension in Mastodon's complex musical persona. Simply put, Medium Rarities is a must for fans.

As the years of shock tactics and theatrics fade into memory, Manson's left with just the music, aging as gracefully as he can with another expertly crafted offering for the altar.

Far from a rehash of the band's previous glories, American Head feels transformational; at once magical and down-to-earth, it's the album the Flaming Lips needed to make and fans needed to hear at this point in their career.

Throughout, RE-ANIMATOR's crisp, melancholy anthems, if less colorful than prior albums, remain captivating, bringing with them an existential poignancy that lingers beyond the closer, up-tempo rocker "Violent Sun," and its apocalyptic chorus ("I wanna be there!/When the wild wave comes/And we’re swept away").

At its best, this debut is a joyful testament to coming out the other side of trauma, though at times, some of the arrangements rely a little too heavily on repetition, taking the album's title quite literally. Still, it's nice to hear Johnson step out on his own and deliver a meaningful set of songs.

Without fleeting moments of bad taste, Perry does indeed sound mature, but she's also not quite as fun. That's a conscious choice, though. Smile is intended to evoke memories of her frivolous younger days while pointing toward a sustainable pop future.

With a laid-back pace, the album's slipstream sonic quality may require a couple of listens to fully absorb, but it's well worth the effort. Gilberto has made a career of seeking adventure in her music, but her partnership with Bartlett on Agora surpasses all expectations and creative limits.

Jeff Rosenstock is a Regular Joe, something that genuinely matters, and No Dream reminds us that sometimes the right kind of ordinary guy is something very special; may he never become jaded about the music and scene he clearly loves.