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.

The cut-and-paste bursts here are beautiful, but they're few and far between.

Whitehorse could easily have played it safe here, but they didn't; as a result, Panther in the Dollhouse is one of the best albums of the summer, if not the year.

While the tracks on Hill's End never stray too far from the sound evident in the first few notes of the beginning track, they never feel repetitive.

Kesha shines brightest on "Woman," an undeniably funky number whose soulful beat is driven by the Dap-Kings' legendary horns. Unedited takes of giddy laughter shared between Kesha and her co-writers in the vocal booth pepper the song, demonstrating an artist who refuses to be stripped of her joy.

It takes a few spins for the subtle charms of Life Is Fine to fully kick in, but it rewards patience. It may not quite match the sustained brilliance of seminal '80s albums Gossip and Under the Sun, but this is another fine effort.

Rawlings' and Welch's music always feels like a return visit, and Poor David's Almanack in particular seems perfectly suited to tack up on your wall and consult at home.

There's no doubt Good Time OST absolutely sounds like a movie score, but every single track here stands on its own, providing an intensely emotional punch to the gut.

Remains an unlikely and absolutely wonderful and essential listen.

Even after encountering a few detours and career doubts, Rose has turned a bad situation into something remarkable; Cage Tropical is a welcome return from an artist that clear has more to say.