Alvvays' music might not be particularly timely, but great songwriting never goes out of style.

Moss uses delays and loops, multi-tracking, and other effects to greatly expand the sonic potential of these basic elements, resulting in a sound world that is laser sharp in its focus, but still expansive and dynamic.

The Punishment of Luxury continues the band's ongoing reunion without significantly altering their course. A few songs here could end up in the band's permanent setlist, but for an album so concerned with our present-day living, OMD seem too content to linger in their own past.

While the rest of the album blows past you at breakneck pace, there are enough moments where the band let their deeper side show. It keeps Toy interesting.

As an album wanders, more opportunities arise for a wrong turn. Omnion veers to a fault.

On the businesslike Cozy Tapes Vol. 2: Too Cozy, Rocky and his acolytes convene for a rundown of trends worth exploiting; as such, it often sounds like a Migos album as interpreted by 16 clueless New Yorkers.

While the project does have a mixtape feel to it as opposed to an album, it delivers a lot of heat.

One of the most consistent post-rock bands in terms of pacing, song structure and style, the Scottish Guitar Army's ninth studio album doesn't exactly break new ground; instead, it finds them subtly refining their recent, synth-focused sound to great success.

As this record's structuring and array of sounds seem somewhat self-consciously thought out, we look forward to hearing them get even looser on their next outing.

While Berman's sentiments are sweet, there's nothing revolutionary here. That said, revolution isn't a prerequisite for good music, so if insular, sensitive indie rock is your thing, you'll probably love The Echo of Pleasure.

American Dream does exactly what a new LCD Soundsystem album should do: it brings back the rush that listening to the band always has, and adds a compelling new dimension to the band's sound--a mature, realist darkness that they'd only hinted at previously--that suggests Murphy might have been temporarily out of motivation, but he was never out of ideas.

2015's Peripheral Vision was indeed more dynamic and, for that reason, might remain their strongest effort for the time being. But let yourself sink into Good Nature, and you'll find yourself in a place of idyllic beauty.

Ferg regresses lyrically, and pairs his bland rhymes with uninspired production that's hard to sit through. It's not all bad: Ferg still has a knack for writing catchy hooks, and it shows.

A big, bold sound isn't a bad thing, but the fact that this album is a little less engrossing than the band's past efforts shows that the most interesting thing about the War on Drugs' music isn't the way they channel their rock influences, but the way they subvert them.

It's clear this record is intended to be far more relaxing than revolutionary. If hippie-ish comfort is what you seek, take a Swim Inside the Moon.

Despite the band's downsizing, TFCF demonstrates that Andrew has always been the beating heart of Liars. This time, the unexpected was hearing him bare his without any uncertainty.

Fans who have joined the ride at some point in the past 20 years will no doubt be delighted with the dense, stomping chapter found in Orc, though newcomers might feel like they've wandered into a story very much in progress and may be more compelled by some of the band's earlier records.

It's noble to see Iron & Wine trying to take his songs into a different direction, but it's a shame that he lacks the confidence to allow these great songs to show off their personality without the help of inane studio glossiness.

Cool and calculated, it's sure to rub listeners who are anything but the wrong way.

Gogol Bordello have created music that feels revolutionary and well-timed on Seekers and Finders, an album on which the veteran, self-described Gypsy-punk group channel the power and immediacy of their fantastic live show into a tight 38 minutes.

Her ability to turn raw emotion into compelling and riveting music carries Exile in the Outer Ring, and the result is some of the best material we've heard from her yet.

Science Fiction is a flawed yet beguiling record that keeps you hooked without offering the emotional payoff that we've come to expect.

S/T isn't a continuation or reprise, but a reinvention. But either way, as far as '90s Polyvinyl reboots go, this makes two hits and no misses.

What Photay achieves on Onism is the contrast between full auditory saturation and expanding silence, brought to life by brilliant production.

There is just enough difference in the two voices to keep things interesting, while producer Teddy Thompson corrals an A-list of session players, including Benmont Tench, Davey Faragher and Doug Pettibone to add empathetic instrumental accompaniment.

Painted Ruins is best enjoyed when you let each song carry you through its many twists and turns. And are there ever twists and turns.

Everything Everything continue to push their creativity and abilities as a group on A Fever Dream, shifting and adapting their sound while retaining their knack for melody, challenging rhythms and standout lyricism.

On Warmth, Blondes haven't drastically improved on their sound, but they feel at home delivering ten more high-quality textural cuts.