There are enough moments when everything clicks to make this a pleasant, intermittently compelling listen. But it’s hard to shake the nagging feeling that it could have been much better with a starker instrumental edge and less processing.

The production, arrangements and overall audio are beautifully crafted, McCombs’ askew concepts are, well... intriguing, and this hour long album is another impressive notch in the belt of a talented artist whose unusual, often offbeat approach is what makes him so distinctive, entrancing and appealing.

As powerful as Dacus can be with the roar of a full band behind her, she only needs a guitar and a little bit of reverb to leave an impact.

The "big-in-England" quartet's fourth release is more of the same that made them so admired overseas;ie trippy yet expansive psychedelic Brit-pop sung and played with attitude (some may say ego), a whip smart attention to melody and an arena sensibility/swagger that screams "rock stars."

Over the course of 16 tracks, Costello flexes his stylistic muscles and exercises that famously acerbic wit.

Adams does his job just well enough on this album that we’re willing to join him on that downward spiral and maybe, as listeners, locate the catharsis that eludes the lonely “I” living the songs.

While his vocal style is not for everyone, Matsson is an imaginative songwriter whose songs deserve your attention.

Consider Shook an example of auditory excess plied with aural intrigue.

Grace sings with macho guts and Shape Shift With Me, with its provocative title and explicit, non PC cover art no major label would approve, continues the band’s string of powerfully uncompromising but surprisingly tuneful albums that make you think, but only if you’re not busy thrashing in the mosh pit.

This is another compelling example of Lavette's finely tuned interpretative talents taking songs to places you might not have imagined.

This record is urgent, pissed, strident and macabre.

“Little Victories” and “Dogtown Days” may add momentary muscle — albeit it tenuously at that — but overall the focus is found in decidedly hushed happenstance. Happily, it’s hard to find fault with these tender trappings, one more reason why XOXO excels with little more than a calm caress.

Ultimately, The Future represents another plateau for a band that’s quickly earned a stellar reputation for both verve and versatility. The Future draws on those accomplishments through a timeless tapestry that offers reason to rejoice.

Those who haven’t absorbed this music yet will find it to be as edgy and intense as anything in Pop’s catalog, and deserving of the lavish treatment it receives here. Bowie fans, especially of his darker, experimental Berlin recordings, will also find this a welcome and even essential addition to his own classic albums of these storied years.

With an album as consistently strong as The Stand-In at this early stage, she has an impressive career ahead.

This type of music has been done before in a different time, same place--the album was recorded in Nashville--but it hasn't been done this well in quite a while.

[An] impressive debut that at only 10 tracks and barely a half hour leaves you wanting more.

Winchester won’t be recording any more music, but he has left us with plenty of classics and undiscovered gems with this final one a wonderful example of his humble yet impressive gifts.

This remains a moderate leap forward for them and indicates an adventurousness they will hopefully explore further on forthcoming albums.

Graveyard Whistling proves that even in the young man’s game of country rocking, growing older is no impediment to creating exciting, even exhilarating music that feels vital, fresh and dangerous.

With their beaming outpouring of positivity and joyous approach to life and love, this rousing music encourages togetherness in these troubled times.

Early James is a young artist infused with the ghosts of another time. His shape-shifting music is impossible to pigeonhole but after spending 35 minutes with it, you’ll understand that Auerbach has once again found a new, distinctive, impressively mature and strikingly focused talent with a bright future.

Consistency doesn’t count for much, but that may indeed be the point. Juice is a refreshing reminder that it’s better to sound a bit unhinged than to always be so common and consistent. For their part, Born Ruffians serve up all of spontaneity their spirited style allows.

The sumptuous yet sublime Lightning, Show Your Stuff, makes it apparent that quantity has never come at the expense of quality.

Even with the slight stench of commercialism tainting this release, and some sub-par material Good Times! exudes enough, well, good times to capture what made the Monkees so much better than their teeny-bopper peers and maintained a dedicated fan base for five decades. If this is their final recorded bow, at least they’ll go out in style.

A remarkable recording, it can easily be considered an album for the ages.

Early Takes Volume 1 might just be the ultimate George Harrison compilation because it pays such respect to that voice in terms of how it sounded and what it had to say, reminding us just how much we miss hearing it today.

Like the tumultuous atmosphere that was the backdrop of some of those ’60s albums, No Time for Love Songs reflects the current times with a sober and measured approach.