The title Beware of the Monkey may come across as a warning, but it’s a lively adventure destined to pull more in than repel. Here’s a man who loves the antique sounds of yesteryear, finding use for them even in the 2020s.

With Lines, Lynch has managed to trudge on ever closer to the boundary separating the two worlds that he calls home, though at least for now he’s decidedly, satisfyingly settled on the side of the outré.

The Bad Fire gives plenty of more ground to walk with and more layered depths to explore. It’s likely to stake some real estate in plenty of rotations worldwide, for those hoping for a follow up to 2021’s As The Love Continues that delivers on the same level. It’s ready for you.

A bold and entrancing set of songs, it’s hard not to see what a big leap forward she took on this album.

Yellow River Blue is a truly intoxicating experience, akin to a spellbinding late night story told by a stranger. As outsiders, we may not have the context, but we know more than enough to realize we’re witnessing something intimate and special. This is easy listening fit for deep reflection.

For the first time in awhile, however, the energies he has expended have converged into a proper piece of art.

Now on the other side of forty, this is QOTSA as weary of mortality as they’ve ever been. They also sound as vital, forceful and rough around the edges as they have in over a decade. Welcome back, gentlemen.

Just Once is certainly a singular release and not a direction for HTDW's future (though more of this stuff wouldn't be unwelcome), but it's still moving in a way that is completely individual.

The tracks on G_d’s Pee AT STATE’S END! share a sense of triumphalism brought about by the communion of music. The album soundtracks the end times, while offering glimpses of hope.

The Bible is undoubtably one of Lambchop’s most mature records, but it is also one of their most honest, most unguarded in its emotional and historical perspectives.

Both [Frankie Rose and the Outs’ 2010 self-titled] and this one are short, sweet, and undeniably charming rock records that hold up on repeat listens more than you might expect.

Each track on Nothing To Declare feels like a condensed, expertly-aimed Hadoken of fun, furious energy.

Moms is perfect evidence that Menomena are still more than capable of holding their own.

This record – like most dark art – is not merely meant as an extreme experience, but a critique of structure that commodifies human bodies.

Researching The Blues isn't the album to convert non-fans of Redd Kross, but it does manage to tie in with the rest of Redd Kross' discography without sounding dated or out of touch.

Overall, When Fish Ride Bicycles won't convert any naysayers, but for both fans and those new to the group, this is a tightly-crafted showcase for the unique sound and style of The Cool Kids.

Thematic and lyrical motifs find repetition throughout the album like a musical director slowly pulling the strings together.

SBTRKT's debut is an impeccably produced record that exemplifies an engaging mixture of soulful vocals and intricately layered electronics.

His voice is consistently stroking it throughout the 16 tracks, ensuring it’s one of his most revealing bodies of work to date. A true and honest portrait of a complex human being.

This is music for the mercurial bunch in need of a break from their own chaotic lives, who need to experience someone else’s even if it’s momentarily. It’s something the genre was intended for, and bands like Duster will continue to provide it for years to come.

It sits comfortably in the middle of the vast catalogue of albums released by Radiohead and its members. It’s reassuring to hear that, 35 years after the start of their artistic journey, these musicians can still come up with compositions this elegant and exciting.

Eagle is definitely Marling’s most considered work, and most of that comes simply from the fact she’s stripped away a lot of the decoration, and yet ultimately it feels easy for her, if not a little predictable.

While B FLAT A is unflinching in depicting stark realism, it also proves to be decisively light-hearted and generous in its unburdening from the absolute strife it inspired. What a thrilling, refreshing band.

Putrifiers II stands as the moment in the bands discography where they break free of any and all restrictions and leave the door wide open for any subsequent releases.

It's reassuring and delightful to have a debut this excellent to cement her place.

It manages to sound familiar while sounding entirely new, all the while making it clear that this is a sound only Lambchop could create.

Soft Will is certainly not as immediately infectious as Smith Westerns’ previous outings, but that does not make it a weaker album. There are still many injections of fun in the wordless gang vocals and theatrical guitar solos.

Those looking for something truly Earth-shattering to rival either musician’s greatest accomplishments may be disappointed, but what they have conceived and created feels far more natural.