Simple on the surface, basically a country blues effort, the album has a sneaky quality. It will grow on you after a few listens.

Life On Earth is a continuation of Hurray For The Riff Raff’s upward projection, ideally breaking her out to a larger listening audience, as Segarra’s voice dominates while musical surroundings ebb and flow in both natural and haunting fashion.

If MIKE had released Beware of the Monkey a few months earlier, a lot of the “Best Albums of the Year” lists you’ve been reading would look a lot different. He gracefully navigates a new season in his life through vibrant instrumentals and heartfelt poetry that is as direct as it is artistically ambitious.

“Route 66” and “Mannish Boy” are just two of the blues-rooted tunes on which the Stones cut their teeth, but that only renders more impressive the relish and attendant polish with which they imbue them here. ... Scintillating.

A mix of highs and lows, pains and struggles, joys and triumphs.

Compassion reveals one of today’s most fully rounded piano trios on their second foray, transportive music of the highest caliber.

Their ambitious sophomore album establishes them as a timeless act, a group of artists hellbent on saying what they want to say and nothing more. They proved they deserve every bit of praise while glossing over it to create an album so chaotic and stunning, it already feels timeless.

Mdou Moctar’s Africa Victime is a less out and out rocking affair than past offerings, yet it is a more nuanced and dynamic full length than anything they have delivered before.

Seven originals (three from Redman, two from Mehldau, and one each from McBride and Blade) may seem a paucity after so long an interval since the last group endeavor these men undertook, but in this case, it’s a surfeit of riches. Needless to say, as it may be, it’s worth declaring RoundAgain is a top candidate for ‘Best of 2020’ lists.

She begins with “Montreal,” singing in both French and English, with a voice so beautiful that it’s difficult to imagine the pain she recollects. “Persephone,” replete with a brief clarinet solo, is positively exultant as Russell sings an ode to her teenage girlfriend whose home provided refuge for Russell during her teenage years. “The Runner” swaggers confidently, spurred by the background vocals and a steady, emphatic beat.

Robinson keeps most of the attention on her voice that manages to be both soft and remarkably powerful. Themes of religion, flawed men and women and a longing to make things right are weaved throughout this collection, highlighting Robinson’s strongest writing so far.

Needless to say, long-term fans of this band should find The Hypnogogue a boon to their devotion. But it’s also true this latest work would function effectively as an introduction to this rock and roll institution from Down Under.

Sonic Youth is criminally underrated and fans of adventurous, guitar-driven rock will find tons to like from their wide-ranging, rich career. Walls Have Ears is just an early drop in the sonic bucket.

With Luca, Maas has managed to stay in that happy medium where it’s different without being too different. There is enough of what fans of The Black Angels want to still be familiar but different enough to be something completely his own. Maas’ first foray into solo territory is definitely a success.

Yet even as Volume 16 turns enervating from certain vantage points, the distinctive quality of the content ultimately renders omissions moot. ... The formatting and the content of Springtime in New York 1980-1985 thus mirrors Bob Dylan’s discography at large, especially in recent years. Accordingly, both fans and dilettantes will find it rewarding, though perhaps in ways neither demographic might expect.

This feels like Tumor’s masterpiece, an opus that has been laying dormant deep in the artist’s creativity waiting to be freed at the perfect time. They pieced together a tracklist that, despite the frantic nature of these songs, stays consistently chaotic even in its most mellow moments.

Bird Machine allows the nuances of Linkous’s unique artistry to take center stage while keeping even the most hectic moments intimate. These 14 songs put a stunningly beautiful bow on the Sparklehorse discography while being so distinctive and magically stirring, they stand in a spotlight all to their own.

This might be some of the most calming music you have ever heard. It is billed as “a private listening experience.” Put this on before you go to sleep, and it should certainly relieve any tensions or anxieties. Peace.

While Fever Longing Still recalls Paul Kelly’s most accessible work—all the way back to 1986’s Gossip—he hardly repeats himself.

On God Save The Animals, Alex G creates his best music to date. The textures are as complex as its lyrical content and it’s all strung together beautifully through intricate piano sections. Throughout this album, we see calculated risks pay off in a major way to create a colorful yet challenging album and one that requires multiple listens to fully understand Alex G’s end goal.

Showcase[s] improvements from the highly publicized 2019 album, Metttavolution while seeming humble and curious. Rodrigo y Gabriela have never cowered away from the challenge of funneling their influence and experiences into one solid format but on this new album, they took their traditional style of doing so and implemented a sense of urgency that gives the album a certain zestfulness that is infectious.

It’s not really necessary to be familiar with the source works to come away impressed by the ingenuity on display here: that surplus of inspiration lends itself to enough solo piano from Mehldau to anchor the narrative and remind us why he is so worth listening to in the first place.

Jack White’s surprise album retreats from grandiose musical ideas (that could be hit or miss), back into the safety of his bluesy rawk. However, that doesn’t diminish the ripping results, as No Name is a blast of direct six-string aggression that is ultra rare in 2024, which puts it in its own timeless class.

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.

The music is never afraid to insert something new, to a fault at times, as programmed beats, punk thrashing and groove metal clash on the schizophrenic “Coming Correct Is Cheaper”. ... Better is the overloaded “Thumbsucker” which pushes upbeat punk with hip hop influence, the screeching “We Wants Revenge” that kicks up to total blissful chaos, and “GODBLESSYALLREALGOOD” which fluctuates between screaming punk and hip hop breaks with an ease and dexterity rarely displayed in this style.

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.

Exploding Trees & Airplane Screams is a massively deep and rich literary and musical album that reveals more colors and lyrical insights each time through. It may even encourage you to challenge your own memories, which change so much over time.

Expect this project, at a minimum, to be a Grammy contender with perhaps historic recognition in the wings at some point.

All four of these pieces revolve around a simple idea, with the band wringing every possible nuance from that primary platform. Although Johnson and Parker are exploratory, the vibe remains calm and within guardrails. Collectively, the four are the musical equivalent of a fresh shower. The listener emerges renewed.

Though the album sounds remarkably fresh, it also has that vintage sheen of albums from yesteryear – a dozen songs, each only three-four minutes long, comprising a digestible, head bobbing, enjoyable 40 minutes.

At its best, the music accentuates the songs’ difficult subject matter. At other times, it becomes monotonous, with the immersive layers distracting and turning into a wash of indistinguishable noise.

The Mountain successfully captures Gorillaz’ individuality without repeating it, pushing the band even further into this new era of experimentation with some of their most daring yet honed music in years.

It’s an album that invites you in with warmth, unsettles you with its peculiar details, and leaves you somewhere between the past and the present, not entirely sure which is which.

We Will Always Love You, their third album, is just their latest achievement in flawlessness, a record that continues the sound that is undeniably The Avalanches.

On the career-spanning Mahashmashana, things are not connected musically, but they still manage to thematically tie together lyrically around Tillman’s thoughts on aging and death. The self-centered artist still conjures up thought-provoking and, most importantly, enjoyable songs.

While the repertoire is not especially revelatory, it is superbly executed.

Gold Record is simple, but packed with lyrical mastery and it plays through without any hitches. Each song encapsulates a lesson or a character that Callahan wants us to either learn about or learn from, and his voice sinks in comfortable in the life that he has lived.

Sun Without The Heat is an engaging musical journey through Leyla McCalla and her band’s vast influences as the impressive artist keeps crafting engaging music for the body and mind.

Many of the songs on There Is No Other are structurally simple but most of the arrangements are compellingly imaginative. This is a magical listen from as tight a partnership as you’ll hear. As the title implies, it’s incomparable.

This album is not easy to digest and that is a good thing. It is a cinematic experience that requires multiple listens to truly understand the nuances of ILION.

Lucifer on the Sofa is a very good Spoon album, one that borrows from They Want My Soul more than anything on Hot Thoughts, but none of that comes through until about 13 minutes in.

Nothing new here, just Hunter and company wearing their love for rocking soul music on their sleeve as they dive through the thirteen tracks on Nick of Time with vigor, affection and professionalism.

There’s no pretension. It comes across here as well as it does in his live performances.

The album is one powerful, deep dose of positivity, purposely overstated, with the whole bigger than any single song. Whether any of us need the tidal wave of healing power DeMent summons may be debatable but the album brings an indelible, lasting quality that few others achieve.

This terrific project has its shining moments, with a few missteps along the way, yet it will likely go down as a winner. This aggregation of talent doesn’t come along often.

This one-night-only piece marks a point where creativity transcends commerce, further preserving what’s unarguably one of the pinnacles in Neil Young’s artistic history.

The album finds a comfortable middle ground between the warmth of your own bed after a long vacation and the anxiety of entering a new era in your life. She deploys just enough ambiance to keep us listening without distracting from her overall message, allowing the hushed melodies and simplistic arrangements to thrive under the all-encompassing creativity of its creator.

Cowards is an album that takes multiple close listens to unearth the nuances of Squid’s third outing. While the songwriting steals the show, what the band is doing sonically is equally head-spinning.

With a few exceptions, Daddy’s Home doesn’t have the show-stopping, what-just-happened hooks of other St. Vincent releases. Yet it is the most eclectic St. Vincent album, juxtaposing calm soul-searching acoustic ballads with funky dance grooves, frenetic claustrophobia with sprawling psychedelia, fuzzed-out guitar with clean finger-picking. It is a new style for St. Vincent but because of its attitude, humor, and off-kilter compositions, it still feels very St. Vincent.

The gauntlet is thrown down directly at the start and while the following songs are all strong, nothing tops this dynamite performance.

A balance of material, performance, and production mirrors the bandleader’s emotional equanimity in such sublime fashion, Relentless is as close to perfect as long-player out this year.

Attention to sonic details and layers of instrumental touches, combined with the harmonious vocal connection, deft songwriting, and easy-rolling charm, makes Keep Me on Your Mind/See You Free Bonny Light Horseman’s most complete album to date and a joy to experience.

Le Bon’s genius, at a time saturated with nostalgia and gated reverb, is to borrow more from mood than technique. Pompeii moves towards Talk Talk, Kate Bush, and Richard Butler in how it emotes, but also achieves their same level of timelessness.

We hear some new facets of Marshall’s artistry and have a terrific record demonstrating his versatility and vision. Clearly, it’s worthy of the hype.

MESTIZX stands out not just as a musical album but as an impactful cultural statement. Ferragutti and Rosaly have crafted a work that is both a tribute to their ancestors and a manifesto for future generations.

At only eight tracks, Heartmind is a perfect length to listen to multiple times. If a song doesn’t grab you the first time around, upon repeat listens the nuances that are layered throughout tend to pop out and give the listener a new appreciation for it.

Sangaré sings with as much if not more freedom and passion as she did on her debut some 30 years ago. She more than upholds the Malian traditions of rebels, undaunted in fighting for causes they believe in. And, in doing so, her voice and the entire musical presentation sounds joyous, spirited, and beautiful.

Brighten is aptly named, though, because the biggest departure for Cantrell is trading his usual gloom, depression, and cynicism for a more positive, even uplifting tone. ... But it is still a Jerry Cantrell album, so darkness and musical tension find their way through cracks in the pleasant facade.

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.

An almost biblical journey to freedom, Tinariwen have inspired compatriots from Tamikrest to Bombino, artists that encapsulate the struggle of a people, taking it to the world through music that truly brings people together.

This is a leap forward for Hiatt who delivers her most fully realized album yet.

The result is an excellent sounding but slightly flat affair as the band settles into life as a trio.

Stunning, dark, poetic. ... Chances are you won’t fall in love with this album immediately but images will liner in your head and you’ll be drawn back to it repeatedly and appreciate it more with each listen.

The reason it’s so hard to find something to say is that every song is perfection. ... This remastered collection is impressive no matter how you look at it.

Stumpwork is bright and more exploratory than what came before, the result of a band pushing the boundaries of its sound farther than just about any of their peers without losing track of their trademark lockstep groove.

Collaboration is a good color on Bass Drum of Death as Barrett looking to outside opinions allowed for his ideas to take full form and provide us with 12 tracks of unfiltered rock with enough melody to plant itself firmly in your psyche and remind you of what album to throw on when you need to get lost in a cloud of harmonious garage rock.

They sound even more urgent now and, of course, Lanois’s production values have further enhanced the band’s captivating sound.

Dacus’ lyricism is pushed farther on Home Video than ever before, with each song contributing its own characters and memories and developing a work tight and succinct enough to be called a concept album. ... Even more importantly, she has proven once again that she is amongst her generation’s strongest lyricists.

As June continues to shape her style, it’s clear she’s zeroing in on her muse. The essence of June’s sound is perfectly captured in the album title. She transports the listener through lush soundscapes that not only leave echoes; they leave a lasting halo-like glow.

I Don’t Live Here Anymore, pushes the groups sound as much as it can, while staying conceptually consistent and rewarding.

Messages of love and peace, so prevalent during the late sixties and early seventies come through stellar arrangements of “The Creator Has a Master Plan,” originally associated with Leon Thomas and Pharaoh Sanders as well as the traditional gospel chestnut, “Wade in the Water.” ... This recording will likely still emerge as one of the year’s most important.

Ultimately much of the charm of Peculiar, Missouri was in its stripped-down, consistent sound. In contrast, Critterland is certainly not consistent. Rather, it’s a disparate collection of ambitious, oddball tracks that sometimes grab you instantly and sometimes take a while to sink in, but ultimately make for a compelling listen.

The result is the 10-song In The Blossom Of Their Shade, a curious, but strong record rooted in old time jazz and country music that sounds like found audio from another generation.

Generally, it is flowing, highly sophisticated, and graceful, but with several intense moments. In the historical context; it lies somewhere between the Wayne Shorter and McCoy Tyner spectrum to the even more adventurous Andrew Hill, Eric Dolphy, and Grachan Moncur III. .... This is contemporary jazz of the highest order.

Despite the multitude of contributors, Placenta maintains a natural, cohesive flow. Niño’s role as a facilitator and catalyst is evident throughout, as he channels the creative energy of his collaborators into a unified, organic whole. .... Niño continues to push the boundaries of musical expression, and Placenta is a shining example of his visionary artistry.

The real joy in this album is found in the shared musical language that’s exhibited across its seven tracks. Instruments fold into each other and each player seems to relish the chance to explore these sonic spaces with true abandon together. These might not be King Gizzard’s tightest, or most immediately memorable pieces of songcraft, but their creativity and kinship is on full display here, which is ultimately what this band has always been all about (that and reminding us of impending heat death).

Ely gets into ballad mode on Ernest Tubbs’ “I Don’t Blame You,” demonstrating a superior command of dynamics, phrasing, and expression that have long defined his storied career. Hancock gets into rollicking mode on Mickey Newbury’s “Mobile Blue” as the twangy guitars fire full throttle while Ely takes Hancock’s “Ramblin’ Man” down a couple of notches with his pals joining on the choruses.

So, yes, the album will disorient you and space you out like a psychedelic trip. That’s her intent but there are serious notions at work as well. ... It’s a lot to take on but somehow, she pulls it off. Grab your headphones and take the trip.

Chatten’s monotone downtrodden vocals with direct lyrics (not going much deeper than their titles) dominate the songs. This style will either pull in the listener or alienate as the woe is me gloom follows each song like a small rain cloud.

So unassuming an offering it may very well sneak onto more than a few ‘Best of ’23’ lists, this LP certainly deserves such placement. Its forty-some minutes contain more than a few of those deeply stirring moments only truly great records possess.

Foxes in the Snow is a broad collection of songs played alone on his acoustic 1940 Martin antique guitar, seemingly without a central theme. Few artists can get away with such a simple approach, but Isbell has earned that status. The question then is whether there will be memorable songs like “Cover Me Up” or “Elephant” that define Southeastern. Only time will tell whether they are here.

The ten-year hiatus hasn’t diminished anything about the Millers” unique partnership. The songs are as good as ever, Buddy still sings passionately and rips his guitar with determined fury. Julie sings as well as she ever has.

The Felice Brothers take great chances with performances like these, but make them sound wholly natural based on unerring instincts they’ve honed over the years.

Apart from the wayward package design—and, for some listeners, hearing the repartee before “Roll Another Number (For The Road)” as simultaneously unctuous and condescending– Citizen Kane Jr. Blues is a prime example of the kind of unorthodox creativity that’s made this man such a fascinating and (mostly) revered figure for over fifty years now.

His most career-defining album to date. ... The cliché “love wins” is the essence of this project, which results in both an audio and visual album. Watching and listening to both creates quite a searing, provocative impact.

Every tune here would be a candidate for a film score, much of the moody and dramatic material conducive to Hitchcock. .... The Umbria Jazz Orchestra, with its blend of brass and woodwinds versus the heavy string emphasis of the Brussels Philharmonic, adds completely different sonic textures. Ringing guitar notes reverberate and echo with more authority as the ensemble extends them. The blending sounds are captivating, and Frisell’s trio mates also seem more at the forefront.

Below a Massive Dark Land captures an amalgamation of complex thoughts and emotions.

What the album lacks in sonic consistency, as the tracklist leaps from pop anthems to nostalgic soul balladry, it makes up for in raw passion and artistic experimentation.

Except for a few tracks, London Brew, imaginative as it is, doesn’t evoke the level of energy that Miles’ original did. For all we know, though, that could be purposeful as this cast clearly put their own stamp on this project.

Will Oldham has set a new standard for himself on Keeping Secrets Will Destroy You, a standard that could only possibly be outdone by the artist who set it.

The Ballad Of Darren has the band sounding as tight and crafted as the first time we heard from the Brit-pop trailblazers except this time around a sense of maturity rings through these 10 songs.

While How Is It can easily stand on its own, its greatest qualities shine better when compared to its predecessor.

He opts for a solidly optimistic take on his circumstances. And right there is the obvious charm of Strawberry Mansion. Over 45 minutes, he doesn’t skirt any of the hard topics. ... Beautifully frank collection of songs.

Opeth’s most cohesive and impactful album since Ghost Reveries. That one will be hard to surpass, and Last Will isn’t quite there, though it’s easily in the upper tier of Opeth releases.

Beach House succeeds on Once Twice Melody as they always do, by pushing their sound as far as it can seemingly go, while still sounding like themselves. The difference is, now, they are taking the biggest risks of their career.

The album has an unsettling undercurrent of synths buzzing and swirling with chaotic sounds that never truly recede as Linderman tries to capture the detachment we feel in everyday life. Even the short instrumentals (“Descent”, “Passage”, “Fleuve” and “Aurora”) act as off-putting placeholders, and while some tracks take that disjointedness to extremes, it is a crucial part of Linderman’s message on Humanhood, cutting through the static for true meaning. The artsy-folk stylings would not pack as much of a punch if it weren’t for the fantastic drumming/percussion of Adams and Melanson, who ground/drive the songs forward.

Yes, we’re barely into 2019 and already likely have a candidate for one of this year’s strongest albums.

Sadness Sets Me Free is a bold direction for Gruff Rhys to take 25 albums in, and for the most part, these risks paid off tremendously. Rhys finds solace in the exploration of himself rather than crafting the perfect LP, giving the album a unique personality that opts for honesty over anything else.