While Good Woman is not the most notable stop on the Staves' journey, it retains all of their most delectable elements — heart-hitting harmonies, lovely melodies, and moments of lyrical spark — that have come to define their work.

While some results sound a little too much like a Speak and Spell, the compositions largely survive their robotic mutations, some even gaining new generations of melancholy and grayness via their detachment from the world of simple human emotion.

At its best moments ("Long Road," "Funeral in my Heart," "Fennario") Landry comes into his own, and the record feels deep, substantial. Too bad he lets himself slip from time to time into a mimicry that feels beneath him.

At this stage, both brothers realize they work better together, though SR3MM's unique format allows for a distinct look at the two very different parts of what make Rae Sremmurd tick.

The project hits a bit of a rut with "Rachel's Song" — an anachronistic cover of a Vangelis composition for Blade Runner — and the subsequent "Stardust," whose droning synth line and latent drum pattern ironically also give the impression of the film score for a sci-fi thriller, albeit an underbaked one. Fortunately, Tragic Magic rediscovers its rhythm on closing track "Melted Moon," a song written in response to the tragic wildfires that consumed much of Los Angeles last January.

The record starts to lose a little momentum near the end, and some parts of the record float by without registering much of an impression, but the highlights usually make up for this. Sometimes she gets too laidback for her own good, but St. Louis has enough charm to make the record work.

Kannon is Sunn O)))'s most sparse offering in years, but the experiment in meditative metal minimalism is more than capable of shooting listeners towards a higher plane of consciousness.

Unfortunately, while amo has moments of absolute brilliance, highlighted by "Nihilist Blues," "Ouch" and "Fresh Bruises," it feels like BMTH weren't ready to fully commit to either sound and, as a result, we're left with a mixed bag of tracks that offers a little something for everyone but never quite enough.

Although inconsistent at times, Special contains enough effusive catchiness and unapologetic positivity to make it an enjoyable summer listen.

Though it may seem as though she's yet to fully embrace her uniqueness in mainstream spaces, there are plenty of moments on Sucker Punch that suggest Sigrid is on her way.

It sounds like the kind of album Ryan Adams would enjoy. Whether or not you find that notion attractive will define how you feel about this record.

There are a few clunkers here. ... But these are minor complaints, and there's a masterpiece of a divorce album hidden in here.

The artist's seemingly unlimited reservoir of imagination and talent have allowed them to fuse years of musical tradition into a wholly singular sensibility encapsulated in these 18 finely hewn tracks.

They've returned with a refocused sound closer to '70s singer-songwriter fare from Carole King and Fleetwood Mac, a sound that supports Moore's thoughtful lyrics.

There's rarely a moment on Jonny that feels regressive — for the first time since the Drums' debut 13 years ago, Pierce has mastered a way to bare both his chops and his emotions.

Welcome To Mikrosector-50 is an album designed for front-to-back listening and, as such, is entertaining in a similar fashion to a movie or TV show, given its detailed plot and narrative style.

Choose Your Weapon is a solid groove.

Spitting Fire does an admirable job capturing some of the sodden, smoky tones and wild, wretched energy the band wield in a live setting.

The self-proclaimed "Genius, idiot" succeeds for the most part in moving out of his sonic comfort zone while toeing the lyrical line between enlightenment and ignorance.

The three distinct movements on display lead into each other, as if in a singular narrative.

I Bet on Sky isn't the immediate winner that Farm was, but it's emphasis on tunefulness versus smack-you-in-the-face noise makes for a surprising winner and a pleasant late career left turn that gets better with each listen.

Belle and Sebastian aren't making a grand statement here; rather, more than seven years on from their last proper LP (2015's Girls in Peacetime Want to Dance), B&S are honing in on some of their signature styles and making an album that sounds quintessentially like themselves.

While this is an album with no shortage of ambition, and one that will certainly make demands on its listeners, their patience will certainly be rewarded by the multitudes that Quelle brings forth on Guns.

While not nearly as exploratory of space as his stunning work with Supersilent and Christian Wallumrod, this release is near-perfect winter night listening.

A modest five-song EP, from its pared-down arrangements to its monochromatic album cover, Silent Hour/Golden Mile is a surprisingly cohesive release that begs for repeat spins.

The melodies can blur into one another and some tracks don't stand out, but Rock and Roll Night Club is so ephemeral and addictive that you'll want to be making love in this club regularly.

Powers is a surprisingly sturdy comeback album that sounds exactly how you remember the Futureheads, and that, at least for nostalgia's sake at least, isn't a bad thing at all.

Tweedy has become a master of subtlety in the studio and the blending of instruments and voices is seamless. Above it all is Staples' unassailable conviction.