Headphones make the experience even more visceral since listeners can concentrate on the intricacy of the tracks. But in any environment, Flat White Moon is an inventive, original and impressive project from a band who hasn’t yet found a boundary they can’t expand.

Semper Femina is a concise, dynamic statement from the English singer-songwriter, mixing breezy 70’s country-rock melodies with claustrophobic, fingerpicking folk, often on the same song.

As often as White Hot Moon feels like a diary entry recitation, its real catharsis is in the sheer acts of volume that back up Drake and Greaves’ lyrics.

At 11 tracks that clock in just over half an hour, it’s done too quickly. But we spend just enough time in La Luz’s nocturnal surf world to push repeat and return again, an action the best albums always provoke.

Even if Joe Jackson is no longer the mega-star of the ‘80s, it’s clear from the consistently innovative, often challenging Fool that he is far from a faded has-been. On the contrary, it’s good enough to suggest his best might still be ahead of him.

There are plenty of bands trying to capture this distressing atmosphere of dread, uncertainty and slowly enveloping darkness, but few do it with the class, subtlety and controlled intensity of All Them Witches. Five albums in, they are confident in their abilities and seem poised for a remarkable future.

This a powerful, uncompromising release and one that doubles down on her established style while pulling no punches.

With Way Down in the Rust Bucket, Young affirms a vision and vitality that showcases him at his best, the lesser contenders be damned.

These songs are refreshing, loud, fun and thoughtful.

Consider Shadow Kingdom another opportunity to seize on a fabled legacy while reminding the world yet again that certain songs never go out of style.

Seven albums on, Isbell’s achieved a rarified status, one that indulges a need for creativity as well as contemplation. Reunions reminds us that it’s the rare artist that succeeds at both.

It shows that a talented, visionary singer-songwriter can comfortably do what she does so well, yet not be trapped by conventionality.

Some, like musician Dean Evenson, believe that nature itself has a tone, a vibration. It’s low, hushed, almost imperceptible. But Barnett’s new LP seems to bring those sensibilities to the light, to the cultural forefront. Whether Barnett has studied the theory that Evenson espouses or not, the truth is that it’s in her work here. Clear as day.

Hopefully the Prine connection will provide the necessary visibility to move Waldon to the next level. With the impressive White Noise/White Lines, she proves her talent is worthy of his, and our, admiration.

The album is at its best when it sticks to the timeless stuff about love and loss.

If Things Change has any fault, it’s that the North Carolina singer-songwriter doesn’t cover too much new ground. But for the most part, it’s an engaging latest chapter in the ever-evolving, consistently compelling storytelling saga of one of this generation’s most overlooked roots country singer-songwriters.

Generally more subdued than the Lambert-led Pistol Annies and less groundbreaking than Trio (the iconic Emmylou, Dolly, Linda Ronstadt project that was a clear influence here), some of this doesn’t qualify as country. It would have helped if all four women participated in every performance since at least one is MIA on the majority of tunes. And while Dave Cobb’s production is typically professional, it’s also a little dry. Regardless, this is a much needed shot in the arm from talented female singer-songwriters.

Outside Society is necessarily uneven, but it's persuasive nevertheless, if only because it tells a clear story of an artist who fought to define and redefine herself constantly.

There’s plenty of soul, sass and self-reflection as Hames works through these short, snappy tunes, where it’s impossible not to hear echoes of the Dusty Springfield and Bobbie Gentry influences that Hames mentions in the press notes.

Competent though they are, the band’s experiments stretch cohesion to its limits, and Spreading Rumours consequently feels like a collection of singles rather than an album-length statement.

Now in her early 70s, Wilson’s distinctive, powerful pipes haven’t lost any of their soulful command on this eleven-track program mixing intriguing covers with Wilson co-penned originals.

Crowell’s brutally honest musings on his life and loves is a case-study that makes the reflective Close Ties a poignant and emotionally affecting portrait of one of American music’s most captivating, talented and honest artists.

This is tough, unvarnished music played for keeps, not for the squeamish or those afraid of the sight, or sounds, of blood.

Few artists have the financial means or artistic vision to pull off a thunderous production like this which is impressive in its scope and sheer booming audio audacity. Van Zandt doesn’t have the best voice (his attempt to croon a ballad on “Suddenly You” is almost comedic), but he generally puts across the material in a sort of sub-Southside Johnny howl.

Steve Dawson’s fleet fingers, dexterity and sheer musicality make this a must for acoustic guitar aficionados and a treat for everyone else.

The thoroughly engaging Scandalous certainly satisfying one's hunger for some stick-to-your-ribs rock 'n' soul music. The band, however, seems approaching a crossroads. They definitely demonstrate their skills at successfully reviving these retro sounds but they are still striving to find their own special voice.

No one breaks much of a sweat here. White’s distinctive mumble seems like it was recorded while drifting in and out of a narcotic-induced coma. Nevertheless, this music resonates with the dark, ominous, rootsy authenticity Tony Joe White has always exuded.

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