With this impressive album of wonderfully melodic music, the band joins the growing ranks of harmony-based folk-rock outfits like the Fleet Foxes and the Civil Wars.

To their credit, Dry Cleaning is not compromising their often prickly art. Rather, like the most resolute artists, with the provocative and relentless Stumpwork, they admirably move their boundaries further afield regardless of appealing to a bigger audience.

Though nothing here (not even the one cover, Dutch band Mint's "Ah, You Left Me") wanders far from the work he has done with Cracker or Camper, this intimate album is a welcome addition to the Lowery catalog.

She still knocks it out live, but Kill or Be Kind finds Fish wrapping her talents around quality, well-crafted material that should help attract elusive radio play and more importantly a crossover audience outside of her established blues base.

He could have jettisoned the closing “I Gotta Go,” a jazzy vamp where he chats about having to get off stage at the end of a gig. ... Don’t let that minor misstep dissuade you from supporting Gales as he continues to fine-tune his songs and muscular blues rocking on an exciting album that provides a taste of his combustible live show.

Other than the oddball horn infused Mexican polka “Tienes Cabeza de Palo” that sounds like Tom Jones taking an excursion south of the border, Call Me Insane plays to established strengths.

In the end, Unrepentant Geraldines goes far to re-establish the sense of intimacy that won Amos her audience’s unwavering devotion; there’s a level of honesty characterizing the project that should jibe well with them, and she’s in confident voice throughout without ever sounding canned or over-calculated.

It's been a cold three years since 2008's garage-synthy third album Midnight Bloom, but their new effort Blood Pressures is more than worth the wait.

Band of Horses have embraced a more mature, laid back kind of rock on Mirage Rock, and it's a comfortable, cozy fit.

On The Hypnogogue, the quintet creates fluid moods, moving in idiosyncratic directions while maintaining the shadowy gaze that has defined The Church’s style. Still, a few more songs like the relatively pop-oriented “C’est La Vie” would help elevate and energize the album by varying its consistency.

Ledges may not match the intensity of his stage performances, but the album does portray Gundersen as an exacting songwriter who never lets self-reckoning curdle into self-regard and as an imaginative producer with a careful hand.

2017’s Flicker fermented a folkier, more organic sensibility, and despite Heartbreak Weather’s soaring ambition, he roots himself to lyrics that sprout from similar emotional earth.

There is enough talent, subdued enthusiasm and commitment on I Still Do to justify most fans’ money and attention, with the understanding the fire and intensity of the Slowhand days only appear intermittently.

A little sincerity goes a long way, and the lack of a lighter conceptual touch doesn’t do this set any favors. But the exquisite Okie is nonetheless filled with emotions he evidently needed to express, which makes it an important entry in his bulging catalog and arguably his most intimate, deeply felt release.

For the most part, Run the Jewels 3 is not intent on breaking new ground but rather on cementing the fruitful dynamic between El-P and Killer Mike. It’s another victory lap from a pair of rappers who are mastering the form, one glorious album at a time.

This is the sound of growing old gracefully while still maintaining a sparkle in your eye.

It's hard to say whether Edward Sharpe and the Magnetic Zeros has hit their stride with Here, their second album--but it's safe to say that it brings forth just as much energy as the band's 2009 debut, Up From Below.

It’s a supple set of songs that’s as engaging as it is agreeable.

While City Music certainly doesn’t surpass Singing Saw, it’s a hell of a lot of fun to hear Morby take a walk on the wild side.

The warmth Nail musters vocally is matched by the pairing of production big and bright enough for radio with performances that feel unmistakably like the work of real, live musicians with personalities.

While most of the songs fall into the folk-rock category, the album still displays an impressive range.

Listening closely to A Small Death all the way through is like watching a melodramatic foreign movie; spellbinding and deliberately paced with an ambiance that leaves you reflective but anticipating better times are (hopefully) ahead.

If Gill maintained the rawness displayed on a few tracks and added more upbeat tunes, this would have been an edgier return to form.

There’s plenty to both enjoy and mull over as Cash’s thoughtful, often poetic lyrics spill out in a variety of settings. It makes this collection worthy of the man’s iconic status, which is saying plenty.

Give this West Coast quartet credit for honing its sound on this, the group’s third album.

Not only have Two Gallants returned refreshed and revitalized, but they push the boundaries on their groove, marrying subtle shadings and pounding intensity into a terrific set that will excite existing followers and should find plenty of new ones.

On The Dreamer, James includes some unlikely song choices, and most of them work.

As a one-off project, this is an enjoyable romp, especially for Cat Power fans. Chan Marshall applies her stamp on material she loves, the live atmosphere enhances the enthusiasm, the audio is crisp and the show successfully accomplishes what it sets out to do. But it’s no replacement for the real thing.