Out of the Blues may be an excellent final chapter in this roots trilogy, but stands on its own as one of Scaggs' most sure-footed releases.

At less than 32 minutes, Back Being Blue doesn't last long enough to wear out its welcome, but it could run twice as long and still be a treat; it's an easygoing but richly satisfying release from an artist who shares her talents all too rarely.

His most refined batch of animated pop yet. He triangulates somewhere between Ben Folds and Charlie Puth, albeit with eccentricity to spare and a better feel for the funk than either musician.

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.

To some ears, this album might sound like demos or unfinished sketches, but its simplicity seems to be Pajo's way of saying that sometimes it's best to appreciate things for what they are, and just be happy you're alive. He seems to be at peace, and that carries a great amount of significance.

Because of its variety of rhythms, infectious energy, and limited track lengths, Angry Cyclist's thirteen tracks go by quickly. That, taken together with lyrics that are both playful and pointed, consistently strong melodies, and exuberant performances make it the type of album that would fun see performed live in full, and one of their best.

Equal parts mesmerizing and challenging, Rockhounds has a truly unique allure.

Highlights are well placed within an astutely paced sequence of short and bittersweet love songs and instrumentals, all substantive and ripe for sampling. ... Piano, strings, and horns have greater presence, providing a lighter, often joyous touch that complements the mostly muscular drums and chunky basslines.

It's not a showy record and it's not going to bowl anyone over, but it is sneaky good and shows that Primo are definitely on the path to doing something really special.

As befits a self-titled album, all the moves Shears makes--both familiar and new--feel true to him. Funny, flashy, and not so secretly recovering from heartbreak, Jake Shears is one of the tightest sets of music he's made.

While much of his work seems deliberately, painstakingly crafted, there's still a fluidity and a sense of being guided by subconscious forces.

There's a good chance we're going to get a full-on rock album from Jennings now that he's gotten this out of his system, but as an expression of his country soul, Shooter ranks with his best work to date.

Linda Gail Lewis may share top billing on Wild! Wild! Wild! with Robbie Fulks, but she's not playing second fiddle to anyone; they both deliver the goods here, and if you don't believe a 71-year-old woman can make a great rock & roll record, this album will show just how wrong you are.

Outsiders has a strong foundation but sounds effervescent, a combination that frequently results in giddy, intoxicating pop, which is what this album is.

They may have done some drastic reshuffling and tried some new things on Move Through the Dawn, but it's a Coral record at its core and it's one of their most satisfying, too.

The album's vérité feel draws listeners into its ever-changing moods so completely, it's almost a shock when it ends. It's this skill at hypnotizing and disarming her audience that makes Devotion such a captivating reintroduction to Tirzah.

High Water I will satisfy those fans who have been missing music that sounds like the Crowes--it's much bolder and simpler than Rich Robinson's appealingly rambling Flux, for instance--but it's also true that the Magpie Salute doesn't attempt to do much here but hit their mark with precision.

It may not have the classic status of Live at Leeds, but the group never sounded as explosive as it does here.

The album plays like a greatest-hits collection, and since it doesn't seem to cater to a musical or emotional middle ground, it makes for a guilt-free pleasure.

Baby Grand is as ambitious as we've come to expect from the Love Language, and as successful in its grasp of thoughtful, artfully crafted pop music.

Gulp show that they aren't just masters of cheerful avant pop; they can do other things at a high skill level, too. It makes for a well-balanced listening experience that fans of Broadcast or any of the other bands mentioned above would certainly find right up their alley.

Even the hazier songs have a melodic and harmonic allure, though, a trait that bodes well for any band. With ten tracks coming in at under 25 minutes, Bell House almost goes by too fast for its richness, like sample-sized bakery treats that deserve a full course.

Tracks like "Lost in Translation" and "Like a Battery" have a real old-school, balls-to-the-wall "rawk" sound which at times feels a bit simplistic, but is still a lot of fun. It sounds as if the band have outgrown the need to prove themselves with overt technicality and are happy to just enjoy rocking out.

With his laid-back charm, wit, and earthy sincerity, Baxter has shown his acumen for quality songcraft before, but on Wide Awake, he ties it up in one wholly engaging package.

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.

Call the Comet is more accomplished than compelling, but there is pleasure in hearing how all the parts fit together so tidily.

A prevailing quantity of the tracks is either forgettable or regrettable. Nas often sounds unenthused.

Instead of a magnum opus from an artist reaching the next level of his craft, or even a serviceable new album, Rolling Papers 2 feels like an awkward mixtape (or two) without much to say and too stoned to realize it's been rambling.