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.

With twenty tracks and plenty of impromptu circumstance, it may not offer the same potential for pure appreciation that a standard anthology of studio tracks might provide. Nevertheless, there’s an adventurous spirit contained herein, and The Chills show they’re adept at heating things up as necessary.

Future Standards feels a little too respectful, well-done but static and without much animating fire.

Love Is Love isn’t clear cut, reading at times like the various stages of grief.

One interesting thing about Ty Rex is how Segall nicely balances the more familiar glam/Seventies side of Bolan with the early folky-faerie side that characterized his Sixties output.

The songwriting doesn’t quite match the ambitions here, and that gives the LP a transitory feel--that, too, may be fitting, given Huebert’s long season.

The album is a good beginning for Will Toledo and crew one on which they’ll hopefully build upon. Some of the tracks though seem too reek of an “indier” than thou attitude that’s best left at the door.

Elvis at Stax, discreetly packaged, replete with complete credits for musicians, singers, and studio personnel, and excellent (if fawning) Robert Gordon liner notes, is a nice corrective.

Whether the new album will get them anywhere close to the mainstream remains to be seen. Most likely it won’t, but that doesn’t mean we can’t root for them all the same.

ild Animals may be an exaggerated description, but their willingness to explore other environs still ensures ongoing interest.

The well crafted moments within Our Love outshines the weaker numbers and makes the album a fun and danceable listen.

Love ‘em or loathe ‘em, they provide the clearest picture of what Gira and Swans are trying to do.

It’s been an odd and unpredictable mix at times, but Mould’s always made a point of indulging his interest with passion and integrity.

On the album’s second half, Foster and her producer/bassist Meshell Ndegeocello steer more towards a softer sound (“Learning To Fly,” “New”) that glosses over some of Foster’s grit. Still highlights are easy to find.

If anything, Atlas sounds like a fully formed album from another era, complete with woozy harmonies, an assured shimmer and a constant jangle.

A little mellower and a little more introspective, but just as impactful as he was two decades ago when he first started showing up on the radio, Collingwood is proof that growing up and growing older isn’t necessarily a bad thing.

Eric’s new album Construction Time & Demolition is all the title implies, an erratic set of songs that’s decidedly left of center but boasting the ebullience and energy that’s so critical to his motif.

More studio sympathy and less technical trickery might've made The Bravest Man in the Universe a minor classic.

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.

While there are some great intimate moments (especially the beautiful “Wayward”), ultimately that lack of a more consistent balance between upbeat and slow tempo drags the album down a bit.

Maandig remains the primary vocalist; yet she is MIA on many of the vast orchestrations that feel like Tattoo leftovers.

It’s unlikely that Carrier will be the offering that brings that promise home. Yet it is a superb showcase for the pair’s ample prowess.

Well-constructed, sophisticated, relaxing, and pleasant.

For most, this will make superb background music for meditation or musing, a tangled tapestry that’s ideal as a soundtrack for seduction.

If you are looking to enjoy a continuation of the gals' intriguing blend of Breeders-esque harmony and Tall Dwarves-ish bombast, you may find yourself listening to this otherwise fine record Again and Again.

The record, produced by John Congleton (St. Vincent, Swans), was pulled together after a year spent on the road, and it shows.

This album may not prove to be everyone’s cup of tea and may require a bit of hope and patience to listen to Samurai. Joakim has made an album that is simultaneously familiar yet unique and sets you on a creative sonic journey.

With Feel The Sound, it's only the music that matters and the urge to enjoy it couldn't be more compelling.