There are quick movements at play, but the locomotion is sort of listless.

His songwriting is excellent throughout as well, with structured but never repetitive forms that are always leading to some worthwhile payoff. Cast nails both style and substance; an exciting debut.

It all adds up to a deeply felt, personal album that, like his previous work, should serve as the perfect soundtrack to many a late-night contemplation hour.

Even though their unique music production always nudges musical boundaries, Can't Say I Ain't Country attempts to knock down musical barriers by affixing a fresh glow on past country music trends.

Having rediscovered his split-lipped humour, and working with simple, yet propulsive arrangements, this is a league leader back in game shape. ... It's a master class in country songwriting, a series of lessons about how to work the expected tropes into what feel like as-yet-undiscovered shapes.

Across the record's 12 tracks, Lavigne tries on a variety of styles, inhabiting each with ease, but rarely manages to rise above and make the sound her own.

Triage is worthwhile in its own right, but it falls just short.

With plenty of captivating textures, there is lots to explore on the record, as there is in the world, but the deeper one goes, the more bountiful the rewards.

He writes and sings beautifully; Unfurl is a lovely, understated pop disc. But, for now at least, RY X's material lacks the range of a [Jeff] Buckley set.

The Long Ryders show they are well-equipped to take a leading role in modern Americana.

Electric Lady Sessions perhaps best functions as the defining calling card of a post-reunion LCD Soundsystem.

While the soundtrack shows how versatile and nimble singer Jade Vincent is, she seems more stagnant on Heartbreak. That's not to say that Vincent flattens out completely. On "Heartbreak," she is in full retro-pop mode, and by the closing track "If," her voice melts into a lovely, lilting little lullaby.

Her strongest body of work to date.

This compilation feels totally unnecessary and impersonal, neither satisfying for old fans nor will it convince new ones of the band's greater legacy. They deserve better.

While there are certainly moments of outright noisy abandon, Richter incorporates enough subtlety and tension into the proceedings to make these diabolical sound sculptures bleed with a raw beauty.

The grimness of the lyrics works, and for fans of HEALTH and their style this is a worthwhile listen.

Scenery comes ever-so-close to its intended level of sublime, yet plays things on the safe side: pleasant, powerful, precise.

Buoys requires repeat listens to appreciate fully, but those willing to dive deep enough will surely be rewarded.

Quiet Signs is a breeze of an album that somehow hits you like a ton of bricks. Just another enigmatic turn for Jessica Pratt.

Like sun shining through the clouds after a storm, Isa is equal moments tumult and bliss.

FIDLAR have expanded their sonic palette on a record that seems destined to be appreciated more with time.

It all amounts to a strong album, one that should appeal to both modern, Editors-loving synth-rock fans, as well as older New Order, Joy Division and Cure heads who remember from whence it all came.

Aside from the compelling lyricism, Everything's For Sale also stands out because of its immersive melodies.

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.

While it lacks the political punch of 2015 album Ba Power, Miri stands on its own as a call for peace, mindfulness and reflection.

Released more than 15 years after his debut as Rustin Man, Talk Talk bassist Paul Webb's followup, Drift Code, is atmospheric and moody, but too often forgettable.

Too bad the music isn't as varied. In replacing keyboardist Sasami Ashworth with bassist Devin O'Brien, Cherry Glazerr have gone from wiry and versatile to big and bulky, but their titanic low-end quickly becomes stiflingly repetitive.

Tividad's sun-kissed vocals, on top of the slow, dreamy instrumentals all over What Chaos Is Imaginary, makes the record feel cinematic. The drone-like voice complementing the vibration of heavy buzzing bass will make you slip in and out of reality.