Lacking the intensity of her main catalog, Great Thunder plays out more like an addendum that an essential Waxahatchee recording, but the songs are still worth discovery.

Everything on In the Blue Light is deliberate, gentle, and subtle, placing as much emphasis on the words and melody as the instrumentation, which isn't necessarily the case with the dense original albums.

As sheer performance, Eminem's vocals remain a thing of wonder, which is why it's so dispiriting to hear him circling the drain, relying on old tricks instead of expanding his worldview. He has the musical skills to mature; he's just refusing to let himself act his age.

Bodied is a few tracks longer than necessary, but its best moments are bewildering, and display Ital Tek's continued evolution as a sound designer.

It's a challenging album, especially at close to an hour in length. Its one that holds its share of fascination, however, with its alternately biting and poetic lyrics, persistent ache, and unpredictable patterns that are still discernable if often transient.

It's a powerful chapter in Bachmann's expansive discography, and while it might require a closer listen than some of his earlier material, the rewards are as fulfilling and slow burning as the songs themselves.

A major step up from their earlier material, Kingdoms in Colour is where Maribou State truly come into their own.

In full, And Nothing Hurt stands alongside the very best outings on the Spiritualized shelf. Its finest moments are consequently its most tender, revealing how much Pierce has grown as a writer. If he continues to record, this will be the album that opens a vibrant new chapter in the saga of Spiritualized.

No previous knowledge of his catalog is necessary to get happily lost in the blissful layers of 2012/2017.

While SOPHIE's music has never been simple, Oil of Every Pearl's Un-Insides' complexities and transformations make it a remarkable debut album that reveals more with each listen.

With Animals is the work of two men with great talent embracing what they do best, and with their skills elevating their work to a new level; this is collaboration between musical peers at its best.

Remain in Light comes bursting out of the gates in a rollicking, irresistible wave of musical joy that only stops when the album is over, leaving the listener in a state of blessed disbelief.

All in all, Mass Gothic have made an album of serviceable, if not shinning, indie pop. That said, it is a step forward from their debut and an overall solid effort from which it's possible to glean some truly compelling moments.

The amplification of their strengths as a group and the new avenues they travel make this the TERRY album that rewards a deep listen most.

Sultana could stand to edit herself a bit better, but Flow State is unquestionably the work of a first-rate talent with potential, and if anyone is going to teach young women about the innate coolness of the guitar, she seems like just the person to do it.

Muncie Girls have foiled the sophomore slump with Fixed Ideals, and if they sound a bit less D.I.Y. this time out, they still sound like a smart and forceful rock band that can deliver great music while offering plenty of food for thought.

The album is their most sonically focused statement yet, primarily consisting of lengthy dirges with up-front growled lyrics that challenge concepts of ego and identity.

Weed Garden is a nice little diversion, and finds both Beam and the band he oversees at the top of their long-running game.

More a headphones-type album than a radio-friendly one, what emerges are still songs before compositions or productions, though they may appeal to the more explorative indie rockers.

Dissolution is the album The Pineapple Thief have been promising since 2012's All the Wars: it's poetic, erudite, emotionally powerful, and chock-full of musical imagination.

Where Mogwai's other scores pushed their boundaries, KIN simply restates their strengths--which, fortunately, are as formidable as ever.

Indigo is another block in the impressive body of work Tatum has built over the decade, and it's some of the best retro '80s (but not stuck in the past) music anyone is making in the 2010s.

Carefully considered and uniquely transportive, The Giant Who Ate Himself is yet another sterling example of Jones' guitar mastery.

Landes is ready and willing to create her own spin on classic country, winding up with a generous and clever gem.

While Book of Travelers may be a less-immediate collection than some of his previous work, its contemplative nature is worth investing a significant amount of time in.

The tributes come across as affectionate rather than rote. That's due in large part to a distinctive, emphatic voice and lyrics concerned with their own troubles and colorful characters.

There's enough variety to excite and warrant repeat listens; however, pacing suffers when the momentum is cut by otherwise pleasant tracks like "Fractured and Dazed" and "Picture Frame." These issues aside, Let's Go Sunshine is a mature progression for the Kooks, one that points in the right direction for the band's evolution.

Like contemporaries AFI and Rise Against, age and experience have smoothed out the band's delivery (Skiba's stint with blink-182 could also be a contributing factor), resulting in less danger and gloom. However, Cursed is ultimately an enjoyable ride, packed with rousing anthems.