If you're a fan of Williams, there are no surprises here, just ten more great songs to add to a catalog that might one day get the credit it's due for the pop star's contribution to, what else, Brit-pop.

Ultimately, Can I Get a Pack of Camel Lights? represents a deepening of Geologist’s already unique musical language. He uses the hurdy gurdy as an entry point for many of the songs, but always proceeds to strange, new places from there.

While the album covers a wide range of heavy sounds, Blackwater Holylight designed the album so some of these intensities bleed into each others while some intentionally upset the balance. It’s a perfectly architected expression of uncertainty and stress, one that only occasionally offers a reminder of hope somewhere in the distance.

It's an engaging sound adjustment for the band that's unlikely to leave many fans of their label debut behind.

Despite its multi-purpose recording approach, widely varying tempos, and ever-changing moods, it's Ratboys' most cohesive album yet and one that will likely connect with those fruitlessly seeking closure.

The weird detours and stylistic wanderlust result in an album that somehow makes a lot of sense as a larger statement, with all the dissimilar sounds contributing to a listening experience that demands attention and doesn’t let go once it takes hold.

For better or worse, locket sounds like an album with a lot of producers.

On One Mississippi, the songs, production, and inspired performances offer honest emotions and direct messages, elevating this record above his other recordings, and most 21st century albums in the genre.

Not all of Kiss the Beast's risks pay off, but by letting his creativity run wild, Tellier defies the expectations of anyone who thinks they know his music inside and out.

Selenites, Selenites! offers the creative vision and fortitude to celebrate community and the human spirit.

A thrilling showcase of Daniel’s compositional abilities, Can Such Delightful Times Go On Forever? makes a compelling case that beauty and expression are essential tools for much more than mere survival.

It's all fine and good, but it lacks the excitement of the Buzzcocks' salad days.

LAROI reveals a growing maturity and surprising pathos on Before I Forget. He brings you into his heartbreak and holds you there.

Courtney Marie Andrews is a first-rate talent, and Valentine shows us she can move in a number of different directions and still deliver something remarkable.

It's ["Vacancy"] an ace slow jam, as are many of the equally flavorful and coquettish songs that surround it -- the slinking "Mobbin in DC," the doo-wop-tinged "Under the Moon," the weightless "Dreaming," and so forth.

It's not always the most forceful or aggressive protest music, though it does have its harder, more bracing moments. Instead, much of it seems to search for the peace and tranquility that would be present in the absence of war and violence.

By the time the 12-song set closes on the lively, horns-injected "Waiting So Long," it's clear that Ballgame's got the goods and the charisma, and that he found an ideal crew (or they found him) to put his music in its best incandescent light.

Scenes from Above stands apart from the guitarist's other Blue Note titles because of the gauzy strength, pliability, and openness of the ensemble in trusting and embracing the tender quality of Lage's music.

Adamson's music for SCALA!! sounds like ideal accompaniment for all manner of nefarious behavior; it's one of his most entertaining film scores and great fun for post-punk hipsters and psychotronic film freaks alike.

There are no weak tracks on the entire compilation, making it essential for anyone who's into jungle in its purest, uncut form.

Wounded and graceful, both in its music and messaging, the writer's eponymous album is one for headphones and private moments.

By prizing nuance, PVA take a decisive step forward; like the bare, imprinted flesh on its cover, No More Like This leaves a subtle yet lingering mark.

World's Gone Wrong is an album of its moment that addresses issues that have been with us for centuries, and like a good blues song, they never stop being timely – and worth singing loud and clear, which is just what Williams does here.

A sizeable shift in tone and emotion from 2022's excellent Faith in the Future, this equally-enjoyable release finds Tomlinson on a winning 2020s streak.

With its highly developed songwriting, excellent vocal performances, and rootsy production style that support and showcase both albums, Can't Take My Story Away is a career-defining album.

The hollow-eyed confessions of childhood trauma on "Gina" and empty consumption on "The Unwrap" make it clear Sleaford Mods are still masters of bleakness, but it feels less like Fearn and Williamson are fighting their battles alone. They broaden their horizons on "Flood the Zone," joining forces with Liam Bailey.

Simply put, Tragic Magic is an affecting, powerfully gentle testament to the alchemy that comes from sharing the burdens -- and opportunities -- of hard times with love and creativity.

On Off the Fence, Hunter's crew display their richest stylistic and rhythmic varieties to date in songs that stimulate the body and resonate in the heart.