What arose from those conjuring sessions is a smoky blend of well-tempered jazz, nearly-still new age, and exploratory adult contemporary vibes. The music is hushed, steady and patient. Synths flourish, horns intonate and a slippery bass swerves all over the place.

This is another worthy addition to a wonderful discography from a genuine roots music hero.

The Unborn Capitalist from Limbo is simultaneously unsettling and comforting in nature, as Hanson achieves what he ostensibly set out to do here: set a mood stuck somewhere between Heaven and Earth.

If you're not in a particular mood, listening to this can be a chore. If you are in the mood, though, this is another solid entry in a series full of them.

A sometimes-psychedelic tinge lifts Fullbrook's usual folk just off the ground. But Fullbrook's voice is still what grants the fine lines life.

It's a raucous collection of deeply-felt country — a journey through many lives. And while its electric, dust-blown sound doesn't push into any new directions, it's a fittingly rich setting for Rose's outsized personality and reedy, expressive voice.

As a mystical and cosmic album, No York! sheds light on Blu's inspiring sonic dexterity.

Whether it's the sing-songy Britpop and jazz on a song like "Out of Options'' or the contemplative soundtrack to a late night walk home on "So Tell Me…," Archives captures intense closeness and isolation, often at the same time in one song.

On a song-by-song basis, Sanchez leans into human moments to ground his bigger ideas in connection or struggle. That helps keep the more galactic concepts well-grounded.

While not everything works out as intended, the seeds have been sown for growth and refinement. The album does a great job of acknowledging the band's past, and where one can expect them to move forward.

The subdued star-crossed is unlikely to garner the same commercial success as Golden Hour. It isn't carried by standout singles or big beats, but the album isn't seeking that kind of external validation. It stands alone in its vulnerability.

Within its niche, it satisfies, but Homeboy Sandman's irrefutable skill level and work ethic deserves a bigger spotlight.

Although there's some room for improvement, Victory Lap is still a solid effort with the promise of better to come.

His whimsically removed approach worked out quite well for Strange Pleasures.

Sd Laika seemingly bucks myriad electronic music trends to create a body of work that harkens back to the genre's classic beginnings.

The Pilgrimage is a triumph.

Sad Hunk captures the band's lively chemistry, proving that five albums in, Jurvanen and company are still finding ways to make "something new for all of you with some old refrain."

Skip the umpteenth "BMF" re-treads and the album's soggy R&B bottom quarter and there's much to savour.

Arpo forges lush soundscapes by drawing on ASMR techniques, layering textures over the arpeggiated hooks that drive the record. A saxophone player himself, Call Super subtly peppers hazy woodwind tones throughout, elevating the record's otherwise eclectic collage of electronic soundscapes.

Though precise and at times cold and glassy, the album is by no means a minimalist evocation of a future world of urban decay.

Producer Jim James (of My Morning Jacket) brings the same balance to the soundscapes Bulat maintains with her lyrics, positioning the space-age synths and backup harmonies in ways that invoke both gospel and girl group traditions without overshadowing the album's strongest suit: Bulat's vibrant vocals.

Gold Past Life is dreamy and colourful, but poignant nonetheless. All those feeling lost, wherever they may be, can take comfort in the tender reminiscing of Gold Past Life.

Essential is a strange, adventurous and ultimately enjoyable collection of half-finished, fully realized songs that could only have been crafted by artists as musically brazen and tenured as Soulwax.

The resulting 12 tracks find Freeman both revelling in and lost within this musical yin and yang.

Oddly accessible and intriguing in its damaged form, Lonely is much bolder than the MOR, left-field beat music one might initially believe it would be.

Tracks like "Roses Are Falling" and "Take You Back (The Iron Hoof Cattle Call)" are solid entries to the classic country canon of Glen Campbell and Loretta Lynn, while his impressive vocal range helps keep the album varied. His breathy croon drives erotic lovers' ballad "Big Sky," while his formidable belted falsetto elevates "Winds Change" beyond mere Smiths pastiche.

While it might be just another Bettie Serveert record, it's also another solid addition to their already impressive discography.

It’s fast, furious, funny, sad and above all real.