In the great tradition of punk rock heroes, Jeff Rosenstock might seem ordinary to a lot of folks, but not many folks have the talent and the vision to pull off an album as good as HELLMODE, and it ranks with his finest work.

Untangling Speedy Ortiz's hyper-detailed words and sounds is always time well spent, but these fierce, surprising songs are some of their most satisfying work yet.

The first part contains some of Clay's funkiest and most psychedelic material with poetic reflections on his upbringing that leave a lot to the imagination. .... The LP's middle third is fueled by moments of deeper self-examination. Those songs are more in line with earlier Clay output like Deadpan Love. .... The latter third is where Clay and company truly stretch out.

Together they wander the landscape like a band of joyous nomads, relishing the journey over the destination.

Emotional Contracts finds Deer Tick operating at full power and making very few advancements from previous albums, seeing no need to fix what isn't broken with their meat-and-potatoes, blue-collar rock sound.

While not the project's most mind-bending or boundary-pushing album, it’s their most stunningly gorgeous, and a successful, timely countermeasure to the symbolic cover art depicting a rainbow in flames.

What gives it resonance is that the album's bones are constructed from the same elements that have made him one of the most interesting singer/songwriters of the punk generation: he's toned down his snarl and cynicism, retaining a D.I.Y. spirit while also honing his powers of observation. All of these come into play in surprising, inventive ways on Leisureland, making it one of his most distinctive records.

The songs are tough, the performances are rugged and real, and Eddie 9V is clearly on his way to greater acclaim by following the music that initially, and still, inspires him.

There isn't a weak moment here, not even a middling one. Auerbach's Easy Eye Sound is forging a unique path into the future of blues, one artist and one impeccable track after another.

Fly or Die Fly or Die Fly or Die ((world war)) is both a pinnacle of that bold creative musical vision and a tantalizing spark of what might have been.

It's remarkable how these fusions feel bright and lively and every bit as sharp as the Americana-leaning Freedom Highway. Giddens may be emphasizing a different side of her personality--and perhaps courting a different audience--but she's made no compromises.

Georgas' conscious attempts here to be more candid in her songwriting pay off on a no-filler label debut for Lucy Rose's Real Kind Records that stands as her best to this point in her career.

Spellling & the Mystery School demonstrates how some of Cabral's best songs have taken on lives of their own since they were first written.

Taylor has made an album that's happy without being silly, and positive while acknowledging just how much of a challenge it can be. Jump for Joy is an exercise in self-help and self-care, and a few spins might help you on the road to better days. It will certainly make them easier to enjoy.

Hearing Pearl reclaim her agency with an older, wiser, and hopefully more sustainable incarnation of Be Your Own Pet is a thrill for fans old and new.

Jaguar II nudges contemporary R&B forward as it mixes inspirations spanning continents and generations.

An album of many strengths -- poetic yet folksy lyrics, charming melodies, an A-plus band, and disarming sincerity -- Haunted Mountain is another delight in a solo career that deserves to be more than a sideline of his Billboard 200-charting main gig.

The Armed get down to business, delivering a volley of potent noise-punk rockers ("FKA World," "Clone," "Everything's Glitter") that temper their myriad technical complexities with sugary, boot-stomping melodies.

A bevy of producers, highlighted by Jennifer Decilveo (Bat for Lashes, Anne-Marie) and Daniel Tannenbaum (Kendrick Lamar), do admirable, evocative work, but the songs and feeling get lost under the layers of sound, particularly at the album's hour-long running time.

Here Lydon has ideas and sounds focused on making them into something, and he has a band capable of giving him all the support he needs. It's not entirely successful, but it's not lazy, either, and at this stage of Lydon's career (and given a very trying situation at home), that's to be commended.

Everyone Else Is a Stranger is easily one of Lindstrøm's most gleeful records, and one of the easiest to recommend.

The resulting 11-song set, The Window, is a volatile one that continues a gradual shift in balance toward harsher guitar tones and more energy without shunning the ambling, jangly alt-country that has co-existed with the band's Breeders-revering alt-rock side since their full-length debut.

Road is primarily killer and only a little bit of filler, with Alice tapping into the power he harnessed in his younger days to create a surprisingly inspired collection of new material.

Barbie: The Album is a celebration as colorful and uplifting as the movie itself, and both are highly recommended.

The strongest submissions make it worth the listen, however, as it's wonderful to hear yet another generation of artists doing interesting things inspired by Drake's evergreen presence.

Even amid the emerging identities of its two star players, it hangs together as a delightfully cohesive volume. It's the sound of old friends playing guitar and singing together in a good room, a vibe that never gets old.

Despite all of these guests and shifting stylistic moods, World Music Radio holds together nicely. The production has an organic, musically experimental vibe that feels like Batiste is really bridging his jazz and pop influences. There's also a sense that he is digging deeper emotionally after a tough few years.

Live in Brooklyn 2011 is a stunning document of a veteran band challenging received wisdom and thriving in the excitement of rediscovery.