The high quality of its majority shows that the singer/songwriter is at a new creative peak.

With Take It Like A Man, she's made a striking, deeply satisfying album that follows no rules other than what her muse has chosen, and it's inarguably her finest work to date.

This trio displays a kinetic spontaneity even as their discipline shines through. As individuals, they are fluid and attentive; they react to and guide one another sensitively, confidently, and instinctively. Under Sorey's leadership, they reveal that these old nuggets still have plenty of mystery in them ripe for discovery in the right hands.

While the story presumably makes more sense if one had the opportunity to witness the installation, or listen to the audio fiction (released several months after the album), Escapology still works as a stunning experience in its own right. Heavy on brief interludes, filled with buzzing and whirring noises as well as computerized voices, the more developed, beat-driven tracks are incredible fusions of multiple styles of futuristic dance music, showcasing some of Kode9's most complex sound design to date.

Vladislav Delay is a master sound sculptor, and he's able to shape chaotic disarray into something strong and stimulating. Along with both Rakka volumes, Isoviha is some of his most exciting work.

Going Places isn't a particularly challenging record, but that's not the point. Rouse imbues these little vignettes and easy-going love songs with his trademark charm and wit, creating a self-contained mood that has plenty of appeal.

Their debut for the label, Patina, delivers another high-quality set of infectious, subtly varied, vintage indie/dream pop for tuneful ears and stirring souls.

While typically low-key and rustic in nature, with touches of (mostly) atmospheric keyboards and electronics, the album is further distinguished by the use of brief instrumentals that make up about one-third of its extensive track list.

All of it sounds supremely organic and works as a further interpolation of the soulful pop she embraced on Heard It in a Past Life. Surrender is the sound of Rogers coming into her complete self as an artist and choosing to be the positive force for good that she wants to see in both the pop and real worlds.

It's never really obvious who is playing what here, but it doesn't seem to matter on an album so moving, immersive and mysterious, organic and otherworldly. Sprague and her bandmates hanging out on a porch upstate managed to make a record that delivers simple songs, artful sound exploration, deep emotions, and comfort all at once.

Despite the dark undercurrents of the songs, the music doesn't try to fight the mood so much as it allows us to hear about a world where, in spite of the chaos outside, there's some simple beauty to be found even as things fall apart.

Riderless Horse does indeed present her in a new way, though the remarkable talent that was on display in her previous work is still here, as powerful and moving as ever.

The Sadies created something very special here, and Dallas Good was rightly proud of this work.

Despite its panoply of styles and personnel, the album remains consistently interesting while still adhering to the Afro-fusion vibe that is his hallmark.

Greer's vision of barbed future pop isn't easy to immediately understand, but Barbarism is as thrilling as it is challenging, and a rare example of art truly existing on its own terms despite how difficult it might be for an audience to digest.

"Hello, Hi" reveals that even when he's playing quiet so as not to wake the neighbors, he's still keeping it alive, and if you need some music for a quiet morning, this will ease you into the day quite nicely.

The album taps out at 25 minutes, but it's urgent enough that it clearly makes its point within that time frame.

The Last Goodbye is a definite improvement over A Moment Apart, which felt a bit too overcooked in retrospect. Here, they get the balance right, refining their sound without rehashing it, and trying new ideas without sacrificing their own character.

Their renderings of "Don't Worry Baby" and "Wouldn't It Be Nice" may be ramshackle, but much like the originals, they're delivered with unguarded joy and wide-eyed innocence.

TV Priest are still working on an individual sound judging from My Other People, and at the same time they're growing into a more accomplished and interesting band; their obvious talent makes them an act only a fool would ignore.

Those expecting the organic post rock fusion of the bands McEntire and Prekop are best known for won't find it in the meditative lingering of Sons Of, but close listeners will hear the same airy melodic sensibilities and creative restlessness in these chilled-out synth tracks that are at the core of each player's best work with their respective bands.

That McRae also manages to bring a hooky sense of pop joy to the album speaks to her growing maturity as an artist.

While few of the tracks offer much in the way tunefulness, Tividad's lilting, delicate leads on "Junkie" and the borderline power ballad "Butterfly Bulletholes" are among a handful of exceptions.

Songs My Friends Wrote delivers what a good covers record should: it works on its own terms and piques interest in the original versions.

Even though Girls is a brisk nine tracks, there's enough variety and energy to make it an engaging and irresistible listen.

Far from a rehash of Cuz I Love You, Special finds Lizzo revealing new layers to the genuine songwriting and generous spirit that has defined her music since the beginning.

The Resurrection of Rust doesn't suggest the world lost a potential classic when Rusty failed to make a record in 1972, but as a glorious recollection of a youth well misspent, it's hard not to love if you care about Costello at all.

With 2022's Misadventures of Doomscroller, Dawes have crafted one their shortest and tightest albums to date that also happens to be one of their most enjoyably experimental.