LaMontagne seems more centered and confident as a songwriter this time around, imbuing the tunes with a sparseness that makes the whole effort more homemade and intimate.

Bonnetta casts a net that is wide as well as deeply personal, which creates a sound that is impressive both technically and in terms of the depth of inner exploration.

While this is likely not an album that will float them to the mainstream, it is one to be proud of.

Pomegranate is sharp and vibrant, like a pulled pin it explodes lofty ideas and ideals, dreams sold to us by mainstream culture and reigning ideologies, and offers the everyday as something worth celebrating.

It's a treat to get an album that feels as real as The Starrr of the Queen of Life.

The beauty of Hurts Like Hell is rooted in this catharsis: transmuting pain — the good, the bad and the ugly — into a unit of strength and perseverance.

Keepsake marks an assertive, confident step forward for Hatchie and Pilbeam is well on her way to carving out her own storied path.

Cracker Island is the most focused and least eclectic instalment in the band's discography — and for that reason, it absolutely breezes by.

Oneiric Formulary may lack overall thematic consistency, and could benefit from Bishop letting loose a little more, but it's satisfying to hear a master of his craft putting his own stamp on some timeless sounds.

While long-gone are the sonic textures of the band's early years — replaced here with some novel and resourceful instrumentation — the group's second (and now longest) run has been unbelievably solid and unimpeachable.

This record's varied influences are held together by the mastery of both D'Agostino's songwriting and Congleton's production. It's unpredictable but immensely rewarding.

Despite its "six years in the making" descriptor, Allegiance and Conviction feels more like an EP of collected experiments toward a new, more realized work. A satisfying stop along the way to the main attraction.

Although Aquarius may not rock the boat with innovation, its more than confident in its stride, delivering an entertaining effort from the sultry singer.

Long-time fans will be rewarded in spades, and newcomers to the Wacos could do a lot worse than starting their journey here.

On Conference of Trees, Pantha du Prince creates new vistas of sound by expanding his musical palette progressively, holistically and audaciously.

Prize never overstays its welcome, doesn't stretch on and on, and feels like it should be listened to all in one go. It doesn't demand so much attention that the listener can't use it as a backdrop to doing something else, though it would be a disservice to allow the record's sneakily dense arrangements to melt into the ether.

Despite the disparate styles and messages, there's a seamlessness to the record that can only be credited to Aitchison and frequent collaborator and executive producer A.G. Cook's deft songwriting and production. They've created an Event Pop Record with purpose, pointing the way forward while positioning Aitchison as a pop artist with something to say.

There are no false steps here in this forest of dreams.

On Claustrophobia, Scuba has created an engrossing long-player that's surprisingly more mode-y than moody.

Suede establish and uphold the album's gravitas with the type of symphonic grandiosity we've come to anticipate from them.

Aside from this titanic single, Club Meds is an album of subtle pleasures that's more likely to creep under your skin than hit you over the head.

Still Life is a slick, full-bodied collection that shows that Morby has lots of sonic ideas, most of which are great.

Personal tumult is not an unusual topic for an album, especially by someone in their 20s, but McMahon's sharp lyrical phrases and outstanding voice are enough to make Salt a fresh and exhilarating debut.

Oddisee challenges uninitiated music lovers to engage with his ideas and his formidable body of work.

Give a Glimpse of What Yer Not is another fine entry into Dinosaur Jr.'s ever-expanding catalogue. Whether or not the group are attracting new listeners with these releases is unclear, but they're certainly doing nothing to dissuade old ones.

What makes this nine-track/45-minute LP so fascinating is just how many ideas Houck injects into it, throwing layers of piano, wordless backing vocals and ambient effects into the mix.

The result is remarkable consistency across 19 tracks. Indeed, Yes Lawd! is an album best appreciated with complete play-through.

Pale Horses compiles all of the strengths of mewithoutYou into a gorgeous, dense package that remains engaging throughout.