Only a few select moments that are more illuminated provide enough clarity to give you an idea of where things are going. Still, the drive for exploration is what makes the voyage worth taking, and rRoxymore's music eludes easy comparison.

Three albums into a burgeoning career, Strings could go anywhere at this point, but the mix of time-honored songs, heartfelt nature, and great playing really anchors this return-to-roots set.

Repetition and rumination are frequent throughout Choosing, as Jamieson ultimately makes a message of the album's economical title. While this lends itself to a certain amount of musical stagnancy, some changes of pace unfold along the way in the form of the catchy "Runner," which begins with spare electric guitar and voice but progresses at a tuneful, accelerating gallop.

The set sees the band channeling their anger about world events into a blistering mix of metal and alternative hard rock.

The result is a fine archival release that goes a long way toward proving that 1972 wasn't a lost year for the band and that their growing pains and tribulations make for fascinating listening.

It could be argued that Live at the Fillmore, 1997 is the definitive live portrait of Tom Petty & the Heartbreakers: not only do they sound mighty, this freewheeling eclecticism rooted in 1960s rock and pop is the best showcase of the band's aesthetic.

The end result is historically significant but also a pleasure: for anybody who has wanted to live within the world of Hunky Dory, this offers an excellent place to do just that.

Listeners willing to approach The Ruby Cord on its own terms will be treated to a remarkable, thoughtful, and emotionally literate cycle of songs that ranks with his most rewarding work.

The release seems like a major personal achievement and he deserves to be proud of it, but there isn't anything here that matches the best tracks on his first two albums.

Prior to the album's release, White Lung announced they would be breaking up after Premonition, and if that does end up being the case, they've gone out with a magnificently gutsy farewell.

Part singer/songwriter folk, part 19th century chamber song (one track is called "Tone Pome"), and part ambient score, the album arguably climaxes with the theatrical "Wash It Away," which most dramatically combines all of the above -- although the elegant, tonic-shifting, harp-accented closer, "Maya, Please," also does little to readjust listeners to the material world.

Now that they're veterans, Nickelback doesn't try so hard to be heavy, nor do they indulge in their tasteless side: they're craftsmen who know how to deliver the goods, which--on its own terms--Get Rollin' certainly does.

L.S. Dunes' defiant, topical, and anthemic sound draws from a wide array of punk and hardcore subgenres.

Her Loss is scattered, flowing more like a mixtape than a well-designed album, but there are plenty of highlights to balance out the less fully formed inclusions.

Live at the L.A. Forum, April 26, 1969 is a superb reminder that most of that music is still vital, rewarding, and well worth hearing.

The album does a masterful job of presenting Wand's powers as a live act, with the songs sounding every bit as strong as their studio counterparts, and often much more exciting.

Throughout Cherry, Snaith creates a new kind of tension in Daphni's music, as well as a spontaneity that seduces his audience into movement ever more cleverly.

Stylistically uneven, unsettled set, though one never loses the sense that Warren is presenting a central, ill-fated-relationship narrative.

It certainly slots in a level below their more considered releases, but if one is fully onboard with the King Gizzard experience, Laminated Denim is certainly worth adding to an ever expanding collection of works.

While Tinariwen would hone their sound and achieve even greater sonic depths in the decades following their cassette releases, Kel Tinariwen offers a compelling and charming aural window into that development.

Due to its length (nearly 50 minutes), cerebral constitution, and tenuous songs structures, SAP can take some effort on the part of the listener by the end, although its unpredictability, enveloping intimacy and creative restlessness are just as likely to engage.

Trios: Sacred Thread is the fitting sendoff volume for the project. Its tunes are wrought with nearly symbiotic aesthetic interplay, spiritual connection, intimacy, and even tenderness.

Pole continues advancing musically on Tempus, stowing away new sounds and approaches so subtly that they only surface when zeroed in on.

Along with delivering the abundance of colors, moods, and first-rate songwriting expected from a Bill Callahan album, Ytilaer is more exciting and engaging than his music has been in some time. This is how an expert singer/songwriter captures the tenor of the moment: with songs of timeless quality.

While it doesn't always reach Sinning's heights, the deeper sexuality, deeper grooves, and deeper understanding Daniel seeks and finds on Is It Going to Get Any Deeper Than This? make it a triumph in its own right.

Standouts aside, Profound Mysteries III feels like the weakest link in this ambitious, year-long project which, while exciting to behold, probably could have been condensed into a one exceptional album.

BROCKHAMPTON have consistently been on an upward trajectory, improving upon each previous effort with the maturity and skill of much more seasoned artists. Ending this part of their story with grace and simplicity, The Family is not only a thank-you letter to fans but to the guys themselves -- a band of brothers who came, conquered, and clocked out while still on top.

And in the Darkness, Hearts Aglow is another step forward for Weyes Blood, building on the stunning sonic and emotional environments she tailored on Titanic Rising and using that lushness as a means of processing destabilized times.