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

With Sleeper Segall sounds almost, well, mature, and emotionally invested.

Deer Tick’s fifth and latest offering is a tad darker and surprisingly personal compared to earlier efforts. The result is ultimately a stronger album, but it takes a little time to get to the good stuff.

For all that remarkable restraint, Dennison creates a stirring impression, making this convergence of emotion and execution equate to nothing less than pure, evocative bliss.

If you’ve heard their main/prior bands then the sound of this won’t surprise you, but it’ll still feel like an old friend that you always pick up right where you left off.

One should not have to turn in anywhere from one-to-two-hours of wages to hear the old coot warble out Willie Nelson’s “On The Road Again”, regardless of how novel the way by which he crafted it.

Modestly presented but expertly crafted, Incidental Hum does exactly what a solo album from a well-respected bandleader is supposed to do: show off a different side of the artist’s talent and provide plenty of entertainment in the bargain.

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

For you kids out there planning to attend space camp, I can't think of better counselors than Elders and Valentine to take you far out where few have journeyed before.

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

Though hardly the type of platter meant to accompany any sort of festive gathering, Little Heater still manages to stir the senses.

Breaking away from their by now trademark South Jersey, cruising with the radio on brand of punk rock that first got them noticed, the band is likely to alienate some early fans with Get Hurt. In doing so, however, The Gaslight Anthem is doing much more to preserve the band in the long run, evolving at a steady, but satisfying clip.

While the band may seem more aware of emphatic expression overall, many of the melodies maintain the anthemic perspective that ‘s always been so inherent and inspired.

It has, not surprisingly, an elegiac quality, a mournful, melancholy cast to its elliptical phrasing. Like the first iconic first lady, the music is polished and well reined in.

With Holly, Waterhouse really comes into his own, branding himself as a retro crossover crooner whose immediate intent appears intended to instigate a ‘60s soul revival.

The production values are practically negligible due to the archival effect. Still, Stoneking’s intents are obviously pure and prone to imperfection. A curious listen, Gon’ Booglaloo goes all out.

Not everything needs to be emoted so hard, not every line requires an instrumental ta-dah! Try a little simplicity next time. It makes the big swells all the more impressive.

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.

You're not going to learn much in this hot tub, or perhaps remember much about it afterwards, but come on in, the water's fine.

Hoop’s experimental tack often requires repeated listens, but it’s creativity and not mere quirkiness that ultimately leaves alingering afterglow.

Modestly presented but appropriately self-confident in its dedication to craft, Hendra is a low-key but sturdy delight.

Long Slow Dance is a schizophrenic album, at times frustratingly so.

Though the band seems to have packed all of its musical interests and abilities into the album’s 11 songs, this is a most likely only a sampling of their capabilities and of the colorful ideas yet to spring from the mind of Jocie Adams.

Non-converts won’t miss anything, but psych rock fans will eat this up and belch happily.

This is almost background music (think synth meets krautrock meets disco meets industrial), music to wash the dishes to or fold clothes or, simply music to dance to (that is probably what the band wants) and in that sense it is perfect for a darkened club where the only thing to do is dance (no drinking or fucking allowed).

The result is slightly uneven, but ultimately has some fantastic songs on it.

They still sound as brilliantly odd as their seminal self-titled debut.

He sounds more at home and natural on these [jazz] songs than on the country music for which he’s most celebrated, making Let’s Face the Music and Dance one of the most effortlessly enjoyable records in his large catalog.