At times, he can push his influences a little hard--"Hey Mama" is essentially a mash note to Van Morrison--but the impressive thing about Tearing at the Seams is how he and his band seem to be synthesizing their clear influences into their own voice. That's why Tearing at the Seams works.

With Violence, the Editors have crafted a big pop album on their own terms, rife with grand, operatic gestures and heat-seeking hooks that cut deep, just as they put salve on your wounds.

Still Trippin' builds on Taye's past triumphs, such as the remarkable 2015 EP Break It Down, and ends up a sprawling yet cohesive work that reaches toward mainstream accessibility without diluting or compromising the genre's essence. If you're new to footwork, this is just as valid a starting point as DJ Rashad's Double Cup.

Taken together, White Is Relic/Irrealis Mood offers convoluted yet catchy dance-rock that lures with flamboyant basslines while capturing a dancing-while-anxious Zeitgeist.

AmeriKKKant is just a depressing slog through and through, perfectly summed up by its Statue of Liberty faceplant cover art.

While the downtrodden Fading Love was a noteworthy debut full-length from an artist who had built up a solid discography of club singles, FitzGerald seems re-energized this time around, and the excellent All That Must Be is a clear improvement over his previous release.

I'm Bad Now may be billed as a closing chapter in their first act, but Nap Eyes give the feeling that their narrative will continue on indefinitely.

Closing in on their 50th anniversary, Judas Priest still possess the musical rigor, showmanship, and force that make other bands bow down. FIREPOWER smokes.

It's a bit of a shame that the record is so half-baked, but somewhat predictable as their creativity has been slowly waning with each new album.

Even if it's not always as coherent as Poliça and s t a r g a z e's own albums, Music for the Long Emergency's experiments balance ambition and emotion in admirable ways.

A commanding, confident debut, Basic Behaviour goes well beyond the ordinary.

The set comes across as remarkably crafted and measured, from its predominantly slow tempos and recurring elements to the coalescence of shrewdly applied samples and participants who also include pianist Peter Gabriel and saxophonist Kamasi Washington.

Mutual Horse is an album of superb craft and no small degree of inspiration, a major work that refreshingly has its ego in check, sounding warm and intimate. It's further evidence that Holly Miranda has quietly matured into a major artist and an estimable talent.

If you're fond of the notion of rock & roll as folk music, A Productive Cough is something you'll want to hear, an album that captures the roar of the masses in an unexpected way, and if you've loved the songs of Titus Andronicus as much as their music, you'll find this isn't quite so different as you might think.

The music here is not only solid, but attractive and clever to boot.

While Black Times clocks in at more than an hour, its incessant drive, appended by lush textures, a diverse sonic palette, rich dynamic, and melodic variations keep it edge-of-your-seat compelling. All told, it's evidence that the younger Kuti has come into his own with Egypt 80; he is charting his own path from the roots of his father's music.

McDonald's songwriting is melodic and bittersweet, more often than not tumbling into catharsis and wounded outrage midway through. There's an intense magnetism to her vocals as she wields her emotional sword, channeling vulnerability and danger into something unpredictable and uncomfortably human.

The production by Joe Henry is superb, matching Baez's vocals with subtle but simpatico accompaniment from a studio band that knows how to shine while making room for the protagonist. Whistle Down the Wind is a portrait of an artist who, at the age of 77, has not given up on her muse or her ideals, and while it's subtle, it's also a deeply moving piece of work that demands attention.

As promising as Von Hausswolff's earlier records are, this one towers over them and above it in terms of musical imagination and emotional impact. It's not an easy or gentle listen, but it is unforgettable and constantly rewarding.

Throughout the album, Allison's vulnerable delivery and quietly tormented lyrics stick as much as hooks, artfully gradated guitar tones, and haunting echo that's mostly reserved for accompaniment, but they all work together in unsettled harmony.

Ultimately, the forte passages don't encroach on the songwriting, as they underline emotion, but they do, at times, step on Dacus' voice, when she's clouded by high-volume accompaniment or even vocal processing. Thankfully, those moments are brief and rare, allowing her lyrics and expressive sense of melody to shine.

The album's scope and ambition are admirable, but the group sound best when they're full of energy, and their slower, more reserved moments can be difficult to get excited over.

Buffalo Tom are still firmly in control of what was best and most important in their music, and Quiet and Peace is a fine reminder of why they mattered then, and why they matter now.

It's clear that she feels strongly about the words she is singing, and she inhabits every song fully. The music, words, and voice come together on Le Kov like fragments of the past put back together and made into a satisfying new whole that works as a lovely tribute to Cornish culture, while also solidifying Gwenno's place as an important artist.

It's clear that Superorganism know exactly what they are doing at all times, slicing and dicing like master chefs, then reassembling the bits and bobs of pop ephemera into a concoction that has a sugary kick sweeter and fizzier than an ice-cold cola.

Rare Birds is dizzying in ambition and (mostly) dazzling in execution. It offers hours of enjoyment to anyone who takes it on.

All Nerve lives up to its name: the Breeders' one-of-a-kind toughness and vulnerability are the heart of their music, and that it's still beating strong is cause for celebration.

At 53 minutes, You're Not Alone might have benefited from some trimming, especially given its relentless volume and energy, though it's not without its dynamics.