Coming in at 11 songs, there is hardly a weak one on Go Fly a Kite and no real need to call out one track over the next, as all are pretty much worth the price of the album.

Internal Logic pits fractious churn and friction against head-spinning harmonies, and here's the surprise, everybody wins.

Jason Lytle's solo excursions express a bewildering mix of emotions. Dept. of Disappearance, his sophomore set, muddies the waters as much as before.

Not a weak track on the album.

Tunes that are both brainy and catchy, full of life.

There is nothing particularly revolutionary about the new record, rather it is a band finding confidence in a sound that’s new to them.

Musically, expressive and thematically sound, I’m Glad Trouble Don’t Last Always is as promising a pronouncement as its title suggests.

Interesting juxtapositions proliferate, but Ava Luna often seems to be pursuing oddity for its own sake. The best cuts here are the most unitary.

Maybe they were trying to evoke Leonard Cohen’s Songs From a Room but they came up with something sweeter (albeit noir-ish) in the process.

For their third album together, John Elliott, Steve Hauschlidt and Mark McGuire bring the same sense of fearless adventure to them modular synths, creating a seven-song cycle unlike anything in the Emeralds canon yet.

While obviously studying their heroes with a fine tooth comb, Big Troubles has done a perfect job of combining past and present guitar pop into one 30 minute stew.

None of these songs (well maybe “Hear No Evil”) will really shock long-term Lightning Bolt fans--but they do depart in interesting ways from the main project.

This is a just a great sounding record. In truth; just great, period.

Given that parts of the album seem intentionally radio-ready, there’s reason to suspect the Rosebuds may have shed their thornier side to win greater acceptance. Happily though, they’re able to dispute that notion with entries that remain unerringly intriguing.

The Ash & Clay, which is the new record from The Milk Carton Kids, is a fine representation of a dish that’s been plated to near perfection with but a small amount of key elements to make it a delight.

Even if it's in small phases, Moon Duo continue to evolve as they revolve.

Ufabulum easily stands as his strongest and most consistent work since Go Plastic.

He delivers a drastic shift in style that anyone enrapt with the gauzy pop euphoria of the first two Crayon Fields classics never saw coming.

Afraid of Heights is ok, it’s Wavves most sophisticated, it’s fun for one or two spins on a sunny day and the duo due take a few chances but at the end of the day, the thing that Wavves are most afraid of isn’t heights, its originality.

Downcast, tasteful and frequently quite beautiful, Depersonalization borrows from sonics generated three decades ago, but with a lack of self-consciousness that makes it all sound fresh and new.

Jukebox the Ghost proudly wear its pop influences on their sleeves and quite frankly don't care whether you like those influences or not.

Fourth Corner is one of those rare releases that leaves its listeners wanting more.

Good Sad Happy Bad is more an interesting record than a piece of music you’ll return to for enjoyment. It’s a fun place to visit, but you might not want to live there.

This artistic upgrade from their previous work is further enhanced by a significant expansion of their sonic arsenal, including piano, cello, Mellotron and female backing vocals courtesy of Crystal Stilts/Dum Dum Girls/Vivian Girls drummer Frankie Rose.

The music appears deceptively simple and unabashedly blithe at times, but regardless, the emotional undercurrent clearly comes through.

After the third track “Christine” floats past like a lost Julee Cruise track on soulful blues guitar and vintage 50s’ keys, the LP takes a surprising but effective turn into heavy, murky territory.

The evolution may be jarring to diehards who loved the band’s take on old-time string band folk, but Black Prairie’s skill at playing its own version of rock brushes aside any carping.

The lush production and whimsical tone complement May’s discerning ear for song arrangements, making Warm Blanket his most endearing effort yet.