Each of Holter's studio albums showcases her skill at transporting listeners into the worlds she creates; on In the Same Room, she brings all of these worlds together in performances that are equally intimate and spectacular.

Loaded with vocal hooks, sassy, R&B-infused performances, and textured, groove-powered tunes, it's a hypnotic set that's definitely got its own thing going on.

Samurai is easily Joakim's subtlest album yet, and it's easy to see why it's such a personal, sentimental statement for him.

They're demonstrating they can write and play as well as anyone in pop and country in 2017, and the album is a rich, thoroughly satisfying delight.

Overall a more unsettling collection than his debut, Fussell still offers a unique experience and applies his distinctive take on Southern American music that is like no one else's.

Damaged Bug isn't just a great side project; it's almost as good as Dwyer's main gig, and Bunker Funk is one tiny tweak better than Cold Hot Plumbs.

Here ["My Kids Live on Mars" or "I Can't Express My Deep Love" ] and throughout What If, the ways Hauschka explores the possibilities of his music--and the future--make it one of his most intellectually and emotionally engaging albums.

Bloodlust may be pugilistic to a fault, but whatever it lacks in poeticism it more than makes up for in raw power.

A wild work of twisted genius and more fun than rabies, that's for sure.

If Dylan learned anything from Sinatra, it's how to drill to the core of the song. Dylan does just that on Triplicate, finding the heart beating within some old warhorses and placing them within several great American musical traditions, and that's why this cements his place as one of the most distinctive interpreters of the Great American Songbook.

Overall, Star Stuff is an enjoyable exercise in semi-constructed jamming and vintage-sounding tones by a trio of skilled musicians, and continues Bundick's evolution toward a more analog texture and approach.

The almost breathtaking goodness of the best tracks here combined with the songs that don't quite connect leads to a very mixed listening experience that will have Ettes fans wishing Hames had kept some of the grit and fiery energy her old band had in spades.

While longtime fans may sense the absence of Bobuck in certain spots, it's a Residents album through and through, with all the atmosphere and Residential perspective one could ask for.

At once balanced and eclectic, Silver Eye may be the first Goldfrapp album to represent all the sides of their music equally well--no small feat, considering how long they've been dancing to the beat of their own drum machine.

These songs are crafted in the best sense of the word, with the lyrics delivering sublime twists that the music matches. As such, Mental Illness becomes something of a balm for troubled times; it's an album that finds reassurance within the darkest corners.

Tribute to Ndougo Dieng may delineate a new phase for this band in the studio, but the music on offer is satisfying; it's deeper and wider and the elements of joy are untouched by time. And make no mistake, it still slides down the spine toward the belly to create an almost irresistible temptation to dance.

Close Ties shows that it's possible to be an experienced professional and still make music that's emotionally urgent and immediate; it's also a reminder that Rodney Crowell was and remains a talent to be reckoned with, and this album shows he's a long, long way from used up.

What gives The Ride its personality how these hooks bend through Congleton's production and Furtado's subdued delivery, shifting this mainstream pop just into a fringe where this singer/songwriter now seems happy to be.

From Deewee is a welcome and satisfying return from the sibling pair.

Boss Hog don't kick as hard as they once did, but what they've lost in muscle they've certainly made up for in terms of atmosphere and creativity in the studio, and Brood X is worth a spin for anyone who digs their grimy glory -- especially since it's hard to guess when we might hear from them again.

Make It Be is more than a pleasant diversion or an oddball one-off: It's the work of two artists of great worth firing on all cylinders. Fans of both Moore and Falkner should be thrilled by the results.

Ainsworth's ornate palette and attention to detail may not attract casual listeners, but those drawn to the icy yet vulnerable strangeness of acts like FKA twigs or certainly Ainsworth's first album will find a rewarding set that expands with repeat plays.

As grim and hopeless as the album may seem, it's ultimately about escaping day-to-day reality and entering a state of transcendence. It's startling and uncomfortable, but it's highly compelling.

In order to be true to themselves, Mastodon had to make Emperor of Sand at this time. There was no other option. As such, its urgency, sophistication, and emotional heft make it a necessary entry in their catalog.

There's some solid world-building going on here, but not a ton of innovation.

Afterlove is a brave bid for contemporary relevance in 2017, a wonderful step outside his comfort zone that is more memorable and exciting than much of his output this decade.

With Eternity, In Your Arms, Creeper have truly proven themselves masters of the dark arts, as they've managed to create something as genuinely inspired as it is stylistically derivative.

Ross' mixtures of outrageous fantasy and sobering reality, side-splitting humor, and piercing vengeance, are intermittently as potent as ever.