Sure, he did appear on a Tame Impala remix last year, but few could have expected such a vivid and exploratory psych album as Let's Start Here.

"Not Running" and the aforementioned "Little Death" have especially great arrangements, but it's a highlight throughout Future Me Hates Me, and anyone who loves British indie punks Martha for this reason should be laser-focused on this debut from the Beths. Future you will definitely not hate this album.

In tone and approach it suggests the populism of a lost Cat Stevens classic ("High Hopes," in particular) but with enough interesting detours.

Color certainly announces Katie Gately as a force to be reckoned with, a true auteur with a singular--and highly listenable--vision.

Throughout Beloved! Paradise! Jazz!?, Dixon continues to show off his acrobatic way with words and parades his affecting precision of imagery.

Blasts of powerful guitar and rhythm that sounds like two, sometimes three percussionists carry along their tradition of satisfying grunge here, but the songs feel more cathartic than celebratory, the crashing cymbals and flurry of toms reflecting the honest, raucous lyrics.

With Chaos for the Fly, Grian Chatten has proven that he's not only worth his salt for leading one of the biggest UK bands in the world right now, but that he has the erudition to create fantastic music without his Fontaine D.C. mates.

The brevity and strong melodicism of these songs is of course reminiscent of Field Music's work, yet You Tell Me feels like both an extension of the eldest Brewis brother's songwriting and an assertion of Hayes' voice.

They're still more than capable of cranking up the guitars and making the kind of caustic, spiky noise that's been their trademark for more than 30 years, especially live.

Once fast and abrasive, Wand are softer and more thoughtful on Laughing Matter; the fuzz and distortion are no longer a main feature, but rather tools used to add layers of texture and sound alongside rhythmic guitar and evocative keys.

Though Football Money is not without its moments of pessimism, at its core, it's a coming-of-age record about doing what you can with what you have--a bright-lights-big-city story scaled down to Canadian proportions.

Always honing and building upon their sound, Throes of Joy in the Jaws of Defeatism is an outstanding testament to Napalm Death's continued legend and evolution.

In the past, Femi has sounded just as vital and his playing just as powerful, but he's never done it in such radiant tones.

Frankie Cosmos continues to succeed at condensing the task of processing feelings down into short minute-ish long songs. The pace of the album is set at a brisk run, but it never gets sweaty, so you'd never notice how quick it is — or how hard it's working. Close It Quietly is composed and meticulous in flow, flawlessly delivering reserved passion.

The band still know how to write a good "whoa-oh," and their message has been sharpened by outside factors, making it seem more vital than ever. Anti-Flag haven't changed; the world has.

Night Palace is an atmospheric, ambitious album by one of modern music's most open songwriters. Its length will certainly be a detriment for some, but those who allow themselves to be absorbed by the bubbling, crashing sounds contained therein will be rewarded with another beautiful, endlessly re-listenable collection of songs and sounds from Mount Eerie.

The band only falters when they lean on stock symbols, as on the materialist-baiting "Pink White House." If those lyrics sound lazy, it's only because Nothing Feels Natural is so taut and particular otherwise.

Not Even Happiness is a triumph of subtlety, proof that music doesn't have to be forceful to be powerful.

The album evokes a powerful sense of longing: a yearning for the connection, understanding, and beauty found in fleeting moments. In the hiss and fuzz of splintered memories and reveries, Powers draws us into a past that lingers, soft and near, just within reach.

Expanding upon its predecessor, The Complete Budokan 1978 is an immersive treasure trove that brings us into the storied space for two nights with Bob Dylan. He was a bit restless, heartbroken and perhaps even a little angry, and that got him searching for new muses and new sounds.

Overall, hardcore R&B fans will appreciate age/sex/location most, but this is an album made for cuffing season and should probably be listened to by lovesick single people still figuring it out.

Calling Out is an excellent first dish by EZTV, a sweet thing that makes one excited to hear what they serve up next.

Bird's Eye is tinged with her signature futuristic nostalgia, but her sonic and personal growth is clear, creating a vibrant kaleidoscope of sound and feeling.

Bigger, bolder, and even more exploratory than his 2020 debut Your Hero Is Not Dead, An Inbuilt Fault.

Khalid delivers something to tide you over; Suncity is awash in that same energy that has kept him in the musical conversation.

Part Two is a serpentine tour of disco, psych-rock, folk and funk, with a touch of house and a generous glaze of unabashed love. It's Romare at his finest so far, and whets the appetite for whatever honeyed treasures Part Three might hold.

Thorn frames Record's songs within her experiences as a woman and mother, allowing for an immediacy to the music, which traces her first brush with guitar music through to a simple desire to enjoy dancing on a night out. ... Tracey Thorn possesses a lyrical and melodic intuition that shines.

An incredibly concise and cohesive project, Dark Times clocks in at an airtight 35 minutes across its 13 tracks.