The album isn't an album of a moments, it's a collection that sustains a mood. A mood that's ragged and slack, but too dulled to charm.

Hundreds of Days finds Lattimore gracefully adapting to her new surroundings, adding new dimensions to her sound but keeping its dreaminess and sentimentality intact.

While Rausch initially doesn't feel like quite as much of a momentous occasion as Narkopop did when it first arrived, it certainly isn't any less beautiful, and holds up to repeated listens as well as anything else in the project's essential discography.

The melodies are engaging, and the turns of phrase are typically sardonic, with song highlights arriving via the breezy but narratively decadent "Everybody's Coming Together for the Summer" and the winking opener, "Angry Man on a Small Train." It's also nearly impenetrable for anyone outside of the U.K., as it's immeasurably steeped in the region's culture and vernacular.

Turner nails the concept, wallowing in warped dreams and painting widescreen soundscapes, but the foundation is wobbly; at a glance, it's impressive, but the slipshod details reveal themselves upon close inspection.

At 13 tracks, Let's Make Love drags just a little, especially in its first quarter, but as a whole, it's a welcome comeback from an enduringly creative act.

The Siren's Song is perhaps a bit too gentle in its attack to make Kacy & Clayton stars, but anyone with an interest in modern-day folk music will be happily mesmerized by it.

Prodigal Son is yet another act of committed intention from one of American music's greatest guardians and purveyors. In its grain, aesthetic pleasure and the will for justice converse and ultimately convince the rest of us to act.

The album's pace slows down a bit in the second half, making it seem a bit front-loaded, but the swagger and tuneful songwriting that hooked fans in the first place remain in full effect here.

This album is smart fun from a band that actually makes something fresh out of the sounds of the past, and as long as La Luz keep doing that, they'll be worth hearing.

With Brent, Dave has a singer/songwriter who is sly, well-versed in the history of country and funky Americana, who places equal emphasis on the song and the performance. As a result, Providence Canyon is fleet on its feet but also substantial: it’s a record that can be enjoyed as a vibe, as a sharp musical interplay and as a set of song that are malleable yet enduring.

Mark Kozelek is as long and rambling as one would expect from the singer/songwriter, but his mixture of poignancy, humanity, and levity continues to make his music worth hearing.

Throughout 7, Beach House feel more concerned with capturing moments fully rather than conforming to notions of what a cohesive album is. That these songs sound like they came from different albums is ultimately more refreshing than disorienting, and the excitement that courses through each track is palpable.

At its core, Attention Attention is a fun, engaging ride, maintaining Shinedown's power while making subtle bids to attract a wider audience.

There really isn't anyone else who combines ear-bleeding noise, desolation, and ravenous beauty like the Body, and I Have Fought Against It is one of their most emotionally heavy albums yet.

There's nothing fashionable about the Sea and Cake's music, and therein lies much of their charm.

Murmurations is a standout moment for Deep Throat Choir, while in the Simian Mobile Disco canon it sits as an interesting and pleasant experience but, ultimately, a sideline in their discography.

What makes the record so satisfying is how Millsap winds up fusing this thoroughly Southern sound with his literate, folky storytelling, which means that Other Arrangements is vibrant and alive even when he's evoking styles that have been around for ages.

Just as the group's first two albums fit into the shoegaze revival category without coming close to playing by the rules, Miserable Miracles demonstrates Pinkshinyultrablast's truly unique approach to making pop music, which is equally as exciting and refreshing.

All eight compositions do a fine job of painting audio portraits of locations one might remember from childhood, with each maintaining a distinct character, but also resembling background scenery. Recommended for fans of Robin Guthrie's solo albums who are in the mood for something just a little bit less hazy or drowsy.

Godfather II isn't bad, but coming after a career highlight, it's quite disappointing.

Much of the spooky sparseness of Girly-Sound was stripped away on Exile in Guyville, which in this context feels big, bold, and colorful--not the beginning of something, but rather the culmination of fearless bedroom exploration. When paired, it's impossible to deny that both Exile and Girly-Sound retain their artful power: What's amazing about this reissue is, it points out how distinct those two projects are.

Maximizing that powerful female energy is Tennessee-raised lead singer Rachael Price, whose dusky, highly resonant vocals, reminiscent of Dusty Springfield, ground the album with a warm virtuosity. It also doesn't hurt that Kearney, guitarist Mike Olson, drummer Mike Calabrese, and touring keyboardist Akie Bermiss frame her in earthy, organic arrangements with a tactile, live-in-the-studio feel.

If Shakey Graves sometimes seems to overplay his arty hand, pushing the record toward the brink of murk, it's the price of ambition and there is much here to admire.

Like so many records of 2018, it is clearly cut together on computer, with dense rhythms competing with smooth surfaces--but also not chasing pop trends. Instead, it's a mature modern album, one filled with questions but also curiously settled, a combination that makes World's Strongest Man more rewarding with each listen.

As the value of Cole's witticisms, and the intellect required to decrypt full meaning of his verses, continues to be debated, the increased strength in his clear-cut writing evinces promise of greater work ahead.

At 33 minutes, the album is an intense but abrupt ride, with both musicians soaring into bold new territories. For dedicated fans who couldn't get enough, pre-orders of the album were bundled with a bonus disc containing eight additional tracks from the same sessions, which are just as mindblowing as the album proper, if not more so.

It's a wonderful debut, and even if Clarke and Cut Worms veer away from this sound in the future, at least he will have left the world this one slice of genius retro-pop.