This unrepentantly unsettled, searching feel makes private LIFE a little less immediate than Ecstatic Arrow, but as they lean into the more experimental side of their music, Virginia Wing share a rich inner life that reveals more with each listen.

These nine songs are some of the most neatly rendered of the band's post-2010 output, but lose none of their mind-bending effect in the production upgrade. If anything, the album finds the Telescopes delivering their messages of self-discovery and cosmic love louder than ever.

While the individual songs may not be as fun on average as those of its predecessor, Lines Redacted does drive home the feeling of dissatisfaction while, like a Ramones under the influence, locking into an admirably irreverent, distinctive persona.

Ultimately landing like a skill set in progress more than an artist fully formed, Super Monster is nevertheless sweet and full of winsome promise.

While one can certainly hear touchstones echoed throughout New Fragility, it has the singularity and focus of one artistic voice.

While slowthai has always been praised for his honesty, he reveals more of himself on Tyron than before, and it's equally as compelling as the sharp social commentary of his debut.

As a whole Glowing in the Dark is a mostly solid, well-built album with enough standouts to keep it fresh without venturing too far out of the band's wheelhouse.

Me and Ennui Are Friends Baby isn't an easy listen, but it's a captivatingly beautiful bummer that ranks with the darkest, drunkest, most flailing moments of Leonard Cohen, Cat Power, and other perpetually sad-hearted songwriters.

Just Dropped In (To See What Condition My Rendition Was In) demonstrates Sharon Jones gave 150 percent every time she stepped up to the microphone, regardless of the circumstances, and this album is a testament to her great talent as well as her gift for putting her own stamp on any song she chose to try on for size.

From its opening gossamer notes to the plaintive, minimalist closer, Somewhere maintains Sun June's distinctly aching, intimate form, even through denser sections, floating by like a distracting memory.

Occasionally the vocals (and the constant name-dropping) become overbearing, but the musicianship is strong and adventurous, taking familiar instrumentation in unexpected directions, and Black Country, New Road are undeniably original.

Arriving at a time when so many artists are inspired by his music, Lost Themes III: Alive After Death proves Carpenter is still one of a kind.

If you want to hear Lucero kick out the jams, When You Found Me will not be your cup of poison, but if you want to hear a great American band bear their souls with fearless grace, this is a must.

While Sound Ancestors as a whole seems as lifetime-encompassing as Donuts, it doesn't feel quite as focused. Still, it sounds recognizably like both Madlib and Four Tet while taking their music into directions where neither artist has ventured before, and its highlights are life-affirming.

With In Praise of Shadows, Puma Blue has crafted a deliberate slow burn of a debut album you'll enjoy taking your time with.

Hopefully time will lead TV Priest to devise a more individual musical personality, but judging from Uppers, they have more than enough talent to make them a group to watch.

Chaotic roll-out notwithstanding, the album is sure-footed and attests to the artist's high standing among the crowd mining pre-disco R&B, jazz, and pop. Celeste and her fellow songwriters and producers -- led by main collaborators Jamie Hartman and Josh Crocker -- have all the knowing, tasteful moves down pat and exhibit some tricks of their own.

Despite subtle shifts in arrangements, the songs of Good Woman share a certain world-weariness that's balanced with a refreshing self-assurance that -- like the sisters' elegant, blended vocal harmonies -- never loses its composure.

Musically and emotionally, there's so much going on that it's sometimes hard to keep up, but Ignorance is a major statement that never feels oversimplified. While she's growing so much with each album that it seems risky to call this Lindeman's best, it's safe to say this is another outstanding achievement from the Weather Station.

Tasjan Tasjan Tasjan is an album that invites -- and benefits from -- full immersion, as it has its own odd, alluring flow. The nods to the past only serve to indicate how thoroughly Tasjan has absorbed Petty and Lynne, finding a way to spin universal pop into something personal and poignant.

I Told You So is grittier, edgier, more confident, and focused on staying in the moment; it's kinetic in its adventurous chance-taking yet surrenders none of the good-time feel, groove consciousness, or energy. Hands down, it's their best outing yet.

Even though the album isn't as immediate as his prior work, it rewards repeated listens and some concentration, a smooth experience fit for wasting a day away between the sheets.

While several tracks are less than essential, the mixtape's best songs are powerful enough to make Demidevil the strongest showing of Ashnikko's formidable skills and uncompromising energy to date.

The Third Chimpanzee unmistakably feels like a side project. It's intriguing to hear what sounds and moods he can create outside of the context of his band, but even compared to the more fully realized MG, the EP merely sounds tentative. However, it's worth noting that the striking cover art was painted by Pockets Warhol, a capuchin monkey, which is fascinating.

Both nervier and more confident than their debut, On All Fours is a huge step forward from a band that's well-equipped to bring post-punk's legacy into the future.

In sum, those who had trouble with To the Bone, Wilson's well-executed homage to the progressive pop of Kate Bush, Tears for Fears, and Peter Gabriel, may have even more with this. Most fans, however, especially more recent ones, shouldn't find The Future Bites an inconsistent entry in Wilson's catalog, but an arguably minor one that steps sideways instead of forward.

Mercurial but persistently larger than life, even in quieter moments, the sophomore set doesn't yield quite as many memorable hooks as Midnight Sister's debut but still holds fascination.

By the time Vertigo Days comes full circle with "Into Love Again," he and the rest of the Notwist have taken their audience on a wild and wise journey of the heart.