This serves as the project's logical finale, and his most daring statement on homelessness.

Suitably cinematic, percussion-heavy and mostly instrumental, it's enjoyable as a standalone album, but it will be interesting to see how it works alongside the film.

Thematic and cohesive, Supermoon eschews the scattered folk of his LPs for an attentive, intimate perspective on some old tracks that should tide fans of Carey over until his next proper record.

Those who got on board with Strange Desire should have no problem connecting with the deep feels and big pop choruses that propel Gone Now.

It's really Schnauss's choice of drum sounds and patterns that prevent A Long Way to Fall from sounding like a toothless ambient piece.

Though a touch disjointed, at times, The Search Engine is a trip.

Ultimately, Thank You for Today finds the Death Cab for Cutie of 2018 taking stock of their band, choosing to forge ahead by using the foundation of their back catalogue to harness their core identity and build upon it. The band's shared vision is clear, encapsulated in this collection of songs.

"Dream Dream Big in the Sky," with its pat chord structure and surprisingly mundane lyrics, is the album's only true misfire. On the whole, however, For My Crimes is another intricate, emotionally complex folk record. It's what we've come to expect from Nadler after all these years.

Lone's take on DJ-Kicks nails it right out of the gate, but starts to lose its eclectic melange as it pushes forward, swapping out the nuanced front half of the album with bland cut-outs that vary too little.

If All In My Head is a stepping-stone in their sound, there's something great on the horizon from Seaway.

Old 97's show no sign of mellowing out or pandering to their audience, making Graveyard Whistling a sort of stubborn achievement.

The Million Masks of God goes for an emotional gut-punch, but it's a bit light on impact. Much of the power of this music comes from the mind when it ought to come from the soul.

Here, Scott Kannberg finally comes to terms with what originally made him such an important part of Pavement and the '90s underground scene--and runs with it.

The album, the first effort from the Poets in 20 years, is just as blunt and angry as their past work. But it is tempered with a patient wisdom that can only come with time, experience, and the gift of hindsight.

The sounds and textures contained here will not be surprisingly new to anyone familiar with Hauff's previous work, but regardless the sum of the album's parts is an entirely satisfying whole, sounding at times like the sound of a machine collapsing in on itself, but not before letting you have one last dance first.

With his altered, multi-tracked vocals and ear for dynamic builds, Philpots leads Bear in Heaven on a similar sonic path [as My Morning Jacket's Z], surrounding biting verse-chorus-verse lyricism with ambient laser beams and rubbery textures.

After being out of the spotlight for years, Marshall hasn't lost her style. Producing Wanderer entirely on her own, you get the sense that she has ventured into new territory. Artists like Cat Power have all been wanderers at some point, but she is the one in control here.

By creating longer songs that echo the hypnotic nature of house, the band draw listeners into the feeling of the beats and bass that anchor Nagano's melodies. In doing so, Little Dragon succeed in giving listeners a taste of the dance world they've entered into, in all its myriad forms.

The best way to enjoy Damage and Joy is to leave their past out of it. Psychocandy was 32 years ago, and the Reids are now pushing 60. The fact that they've come back at all is a remarkable thing. But doing so with an album that lives up to expectations is all we could have asked from the Reids.

Six Cups is a "fun" record, sounding less serious in melody and experimentation than Lindstrøm's previous work, but it was undoubtedly crafted with the intentions of being taken equally seriously

The MSTRKRFT formula of tight, catchy loops remains unchanged after all--they've just gotten a lot darker.

Diver completes Lemonade's transformation from jerky, banger makers into wistful, all-encompassing pop sophisticates. That it was done so flawlessly makes it such a triumph on their part.

A record that moves between genres and moods with a deft touch.

While I Was Born Swimming never goes into the unfamiliar, Williams' gushing charm is more than comforting enough to feel what it's like to exist somewhere in between destinations.

Ultraviolence prioritizes mood over innovation, classicism over experimentalism, and is better for it.

Recorded in just ten days, Morning World stands as Teen Daze's most effortless work to date, coming off thoughtful and patient without ever succumbing to the burden of "style."

Alcest strive for balance once more here, and for the most part, they achieve it.

The pacing of Rest and the length of its songs make it a grower of an album that, over time, ensconces listeners in the sonic layers and personal lyricism of Gainsbourg.