The cinematic “Through the Heather” would fit perfectly in a melancholy, rainy scene of a John Hughes film, while “Tourmaline” gets more ominous and a touch Goth in Sisters of Mercy-like fashion. Not everything is as successful; “The Fatal Shore” is repetitive with a pulsing, redundant beat, but for the most part these danceable tunes do the job.

Almost twenty years into their career, the group seems to be hitting a new collaborative high with this confident record.

Boasting several of the strongest songs of his career, The Landfill is both warm and wistful. It stands as another impressive entry in the Fruit Bats’ catalog for longtime fans, but also as the perfect starting point for new listeners.

Aurora leaves the listener with engaging moments, but falls short of being an engaging album.

Ngonda crafted a successful continuation, with slight improvements, of the sound he established on his breakthrough debut, pushing himself further up the ranks of contemporary soul without succumbing to today’s tropes.

The artist proves once again that his evolution is limitless and his wisdom is otherworldly. .... These ten songs push Staples into another level of conceptual storytelling.

The simpler, stripped-down sound of I Built You a Tower mostly works. The simpler compositions draw attention to Gibbard’s storytelling, while the melodies and occasional rock outbursts add the hooks.

Taj continues to bring us his singular, unbridled joy whenever we listen to him.

On the heels of this burst of Beatles interest, McCartney sounds vital as ever, giving us a solo album that sits among his best work.

For House of Mirrors, All Them Witches have delivered the most straight-ahead rock record of their career while absorbing folk and blues influences.

Philadelphia’s been good to me is a transparent look at the current state of a beloved musician whose life in music has culminated in an autobiographical album that is destined to stick to the sides of your soul.

A gratifying release for fans of Social Distortion and beyond, Born To Kill finds Ness and the fellas still motoring along with plenty of gas in the tank.

Relative to the two previous releases, Happy Today is much shorter and far more accessible as the band combines their patented immersive ethereal space jazz with tangible, expressive playing. The music has groove and suspense, delivering an uplifting feeling, with some credit due to the passionate audience.

This is the most focused, aggressive music of the artist’s career.

Morby remains open and inventive, partnering with Dessner, who brings on board what he does best, while also contemplating times passing, life/death, and the great beyond.

Regardless going against all conventions and ridding itself of repetition, Croz Boyce is an album that begs to be heard again and again.

Edkins' tunes are virtually indestructible, which means that you could arrange them in almost any pop style with almost any affectation and they would still sparkle. But they are especially effective in this setting because of Edkins' obvious love of power pop.

"I'm People" is honest and so accessible that it seems as if the storytelling MC Taylor is engaging a single listener, both seated in a cozy room.

The duo’s employment of a more ambient soundscape pairs beautifully with the raw, often hard-to-hear emotional songwriting. Not that Lost Cause Lover Fool doesn’t retain the welcoming warmth of previous Milk Carton Kids’ outings, but this is a particularly vulnerable side of the duo. There is longing in every moment of this LP that forces the listener to sit in the uncomfortable truths detailed in these songs.

A bare quaver and a patch of rough grit here and there are the only signs you’re listening to an octogenarian. The grit actually gives Starr’s voice some character, especially alongside Tuttle on the heartbreaker “She’s Gone” or the sublime duet “You and I (Wave of Love).”

At the same time, that wide scope can work against the album’s cohesion. Some of the transitions feel abrupt, particularly in the middle run, and the pacing can be uneven as a result. But the trade-off is that the record rarely drags and creates a sense of anticipation for what is coming next.

While tunes like the shifting/warbling “Slow” are trippy, the band seems more comfortable with tracks like the synth-led off-kilter R&B of “Hit the Ground” and the 50’s rocking, “In the Dead Mall”, which gets its kicks by shoplifting. A few of the more straightforward tunes turn out to be album highlights.

Engines of Demolition shows that Black Label Society hasn’t lost a step over the last 28 years. It’s uncompromisingly heavy while doling out hard rock hooks and introspective meditations on mortality.

Most of the madcap antics work, while other moments are exciting failures. While it’s not an easy album to digest, it’s fun for those who enjoy the experimental process.

The songs are carefully constructed but never overworked, and the production keeps things loose enough to feel personal. After years of contributing to other artists’ records, this debut makes a convincing case that Morgan Nagler’s own voice deserves just as much attention.

The Format emerges from their dormant state with an eleven-song LP that not only reintroduces the duo as forward-thinking pop mainstays but also all-around daring musicians.

Whether Tedeschi Trucks Band has truly entered a broader, more mainstream phase will become clearer with future releases, but Future Soul certainly points in that direction. Regardless, it’s a standout album that only grows richer and more rewarding with each listen.

The result is a solo album that feels both intimate and essential, a reminder that his understated approach remains as powerful as ever. It stands among the most affecting entries in his already remarkable catalog.