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.

Featuring a formidable and typically eclectic tracklist that showcases Bruce’s innovative and forward-thinking compositional and instrumental strengths, Indigo Park stands as one of Mr. Hornsby’s most inspiring efforts in years.

Sunn O)))’s sound is clearly not for everyone as the drone, feedback levels and repetition is an acquired taste, but for fans of this goosebump raising style, this self-titled effort is a welcomed return, going back to the duo’s roots in confident fashion.

Thundercat surfaces with another wholeheartedly relatable and sonically mesmerizing LP. The artist’s fifth studio LP, Distracted, is an organically stunning and stubbornly present new chapter to Thundercat’s autobiographical discography, one that is both a poetic snapshot of the artist’s perspective and another refreshing take on Thundercat’s singular sound.

13 spell-binding, genre-pushing tracks. .... Atlanta is the mesmerizing, psychedelic outing we all hoped it would be, and then some.

Against the Dying of the Light is an admirable work whose musicianship in the telling far outshines what is ultimately told and creates many beautiful moments of reflection.

These songs manage to uphold expectations while taking baby steps towards something the duo can call their own. The tracklist comes together like a long DJ set, ensuring bodies are moving all around while painstakingly crafting a consistency that is noticeable from the jump.

Ricochet is an irresistible album full of simple but effective song-craft decisions that add up to a next-level moment for the artist.

Flea’s mission for Honora was simple: create something that feels both natural and impressive, something the listener can take with them throughout their day, and he achieved that, and more.

Little adds light Caribbean flair to the poppy “Whip The Wind”, but the love song runs on too long, as does the retro soul of “Cherry” and the warbling get down jam “Bottomless”; however, Little’s vocals are always soulful. Things improve when Little moves to more expansive offerings.

If you are unfamiliar with the band’s music, this release may be the perfect place to start.

Irreversible builds on that foundation of classic New Wave and modern indie pop to create a sound that feels both timeless and distinctly their own.

The difference to these ears between Happiness Bastards and A Pound Of Feathers is a clear, harder edge, and more importantly, the Robinsons smell success and are fully invested in the band. That hunger is palpable as the heavy songs throughout A Pound Of Feathers kick down doors announcing The Black Crowes are fully back.

Angel Du$t miraculously showcased their maturity while keeping a keen eye on the elements that make them such a unique voice, all while writing incredibly moving songs.

The dynamic and thought-provoking tracklist is just as restless as the lyrics Puscifer wrote for Normal Isn’t, creating a marriage between the ethereal and reality.

The multi-Grammy Award winner deserves to be proud of such deeply personal, readily identifiable work as Side-Eye III+.

What a short history of decay lacks in consistency, it makes up for with unapologetic, poetic displays of the many sides of Palermo as a writer and producer.