Another Splash of Colour: New Psychedelia in Britain 1980-1995, has plenty of meat on the bone for the uninitiated as well as the seasoned psychedelic music listener.

He just hides his eccentricities a little better this time. You have to look for them, but they’re there.

No surprises, but impeccably predictable.

They blast their way through what will be one of the best punk records you’ll hear this year, and their best album to date.

This Ain't Chicago does exactly what it's supposed to do: make you wish you were there.

It’s all quite pleasant, nicely played and sung and recorded, but perhaps a little distant. These tunes flow by like sunny afternoons and when they’re done you can’t remember much.

From the heads down deliberation of Alligator, Mississippi to the teasing double entendre of Sweet Tooth, White’s music captures a particular time and place when pop and pretense weren’t necessarily intertwined.

In the best cuts, the dance elements win out over doom-y post-apocalyptics. “AS A.W.O.L.” layers metallic-ringing keyboard notes (like a music box made of tin) over a sinuous, vaguely ominous beat.

The instrumental nuances make for a vibrant whole, but often times, less works best.

Outside Society serves as an excellent primer for the young person looking to delve into the genius of Patti Smith for the first time as well as an essential addition to the record shelf of any seasoned fan well versed in the catalog of this high priestess of rock 'n' roll.

True to its title, Believers does indeed have the potential to make faithful advocates of all.

An exciting and distinct new spin on the dreampop revival.

What Thundercat has created with The Golden Age of Apocalypse is the sonic equivalent to a power-packed issue of Wax Poetics, bringing together several disparate elements of one nation under a groove to build a challenging and soulful playground for his indelible skills on the bass.

I was kind of hoping for more hooks, but sometimes forget that every record can't be Singles Going Steady. When the White Wires release a greatest hit collection that might be just what I'm looking for, but in the meantime, WWIII will do.

A musical journey through spiritual and physical emotions, Electric Word will stir and soothe the soul.

With songs as downcast and despondent as “False From True,” “Worthy” and the title track, the steady ache doesn’t abide all that quickly. That said, Trouble & Love does find some cause to break the stranglehold of sadness and despair.

Brooding, menacing, haunting, even elegiac--we feel the Earth move across the emotional spectrum, rumbling through its soundscapes with eyes closed and amps set to stun.

The Fact Facer is a nuanced, multi-leveled listen that stands with the best things Amos--and anyone covering similarly adventurous terrain--has done.

The musicianship is so uniformly good that you forget about it and allow yourself to be swept onward by the songs.

Above the Prairie unfolds as a series of shimmering, seductive soundscapes that effectively convey the other-worldly imagery asserted in its title. Within this beguiling set of songs, a dream-like scenario with a nocturnal gaze unfolds.

This Is Glue is several orders of magnitude better than the already quite enjoyable Metalmania. Without changing the formula much, Sampson has somehow increased the impact of his ramshackle, ear-wormy songs and made them matter more.

Recorded live on the floor with his band, ChesnuTT's second album cuts the fat away for a lean, no-bullshit sweet soul program that hearkens back to the heyday of the O'Jays and Al Green.

Nothing is Wrong is a terrific follow-up for a band that delivers beautiful, powerful music straight from their own hearts and right to yours. Believe.

What you end up with on End Times Undone, is a trance-y, pop-psych, hypno-rhythmic romp that showcases a group of players that have magically meshed into a single hive-mind, behind the very talented Mr. K., at the top of his game.

You're Nothing is an album full of power--power which makes you think and react viscerally.

Americana is damn near as excellent an album as Davies has delivered since the ‘70s, a set of songs that will someday be seen as among his best.

He sounds like an old master these days, crafting material that would sound equally affecting if they came from the pen of Guy Clark, Jimmie Dale Gilmore, Steve Earle, Alejandro Escovedo or any of several weathered and revered troubadours who blazed the path before him.

No matter how synthetic and mechanical things get, the stain of cosmic psychedelia never completely fades.