Packed within these ten tracks is a solid and eclectic mix of genres, fresh sounds and vintage flair. Hate for Sale is the band’s strongest in a long while and should give any listener enough to gnaw on and then some.

Enter into Rajan with zero expectations and allow Night Beats to whisk you off on a mind-expanding journey that blends genres while keeping the unfiltered creativity of Danny Lee Blackwell at the center of it all.

The ever-evolving Joel Ross has taken a step back and forward at the same time. If this is your introduction to his gorgeous music, it’s an auspicious place to start that will likely lead to seeking out his previous work too.

Wand is most at home onstage, and Spiders in the Rain does a proper job of delivering the group’s unique mix of noise/psych/jam/shoegaze/alternative rock to those who have yet to experience them in concert as well as those who want to relive the majesty.

Even with the dark lyrics, which at times overshadow some strong poetry, this album is a great listen due to Kacy’s lovely, lilting voice and Clayton’s all-over-the-fretboard guitar playing. And, for all the ballyhoo about moving to a full band sound, the rhythm section support is mostly subtle and Kacy and Clayton rightly assume the duo spotlight, as Tweedy stayed hands off, knowing that Kacy and Clayton had the songs and the chops.

Unlike the 2017 pair of albums which were rather short, Stapleton delivers a generous heaping of 14 songs here. He has nothing left to prove, but somehow, he just gets incrementally better as he takes more control and confidence in his own songwriting.

This is one of Griffin’s most introspective albums, as she continues to move in this direction. Her fans will enjoy the lyrics and her, unique passionate vocals.

Despite the otherworldly talent displayed on the album, there is an element of humanity hidden in there. By simply relaying their life story through whooshing production and swooning melodies, UMO created their most personal yet most relatable album to date.

The Nude Party’s strong 2018 debut found the sextet knocking loudly on the door. With Midnight Manor, they kick it off its hinges. ... The result is undeniably an impressive overshadowing of that debut album.

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.

This one has terrific moments and arguably, some of the best songs he’s ever written. These ten songs, each three or four minutes in length. are the essence of Will Kimbrough, songsmith.

Down in the Weeds, Where the World Once Was is very complicated lyrically and also very fresh. The trio championed the moody music that college English students sat in their dorms and cried too, and Bright Eyes doesn’t leave that signature out, but they doctor up the sonics resulting in a dense return from a long hiatus.

Midlake’s sixth LP is an unassuming yet vibrantly fun listen, brimming with expressive anecdotes that aim to enhance your surroundings rather than distract from them.

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

My Finest Work Yet is an elegant musical piece, enriched by stimulating messaging.

The cohesive Other You finds Gunn comfortably delivering gorgeous layers of guitar sounds over relaxed songs which are in no hurry to do much more than reflecting the Southern California sun.

Despite it being one of their shortest albums, their feral-like energy continues to demand your attention for the full 40 minutes.

While it would be difficult to ascribe the term ‘organic’ to the original album, the original bears more melodic qualities and the ebbs and flows are musician-driven versus effects-driven. It’s a preference – dancefloor or couch and headphones. It’s not every group that can deliver both experiences and that makes GGP special.

Los Lobos puts out a dazzling love letter to their hometown of Los Angele with Native Sons, 13 songs initially sung by LA-based bands. The reinterpretations are as inspired as they are varied.

While Part 2 might not be quite as excellent as Part 1, the album as a whole contains some of Lavelle’s best work.

After years of recording under various aliases, he seems to have made peace with it and settled back into Wreckless Eric as his moniker. As his past several albums prove, he is just as vital.

Cavalcade, much like its title suggests, is the sum of its individual parts, a great collection of songs, but still, exactly that.

These songs find her shaping her thoughts on motherhood, romance, the universe, and death into some of the most accessible music of her career, telling the tales of our bodies and what comes after in a mesh of psychedelic funk and earworm hooks.

Even without Bejar, there are enough pop hooks and interesting melodies to live up to The New Pornographers’ high standard.

Produced by Alvin, From An Old Guitar: Rare and Unreleased Recordings, the 16-song collection offers a mix of acoustic blues and ballads to electric bar room blues to folk and country/rock, a great representation of Alvin’s many endearing styles from one of the best songwriters and energetic guitarists of our time.

Whether you’re a fan of the desert blues sound or new to it, Songhoy Blues has delivered an infectious, comprehensive take on the music infused with tradition.

The band crafted their most personal and revealing album to date by allowing themselves to play with minimalism in a way that creates an atmosphere of honesty. Fantasy has M83 at their most fearless.

Back In Black is a tribute, extension, and reminder of Cypress Hill at its peak, to do this so successfully thirty years after that era is impressive in its own unique way.

The funky hip-hop moments sit beside some truly gorgeous passages, especially Kuroda’s flugelhorn on the Hancock piece.

Rarely Do I Dream blurs the mystique of an artist whose honest songwriting made listeners feel like insiders with the musician and introduces the world to the full potential of Youth Lagoon.

He continues to show why he’s been one of the best songwriters in the past four decades and again, despite what at times feels like a curious mix, he delivers the kind of gems that only he can.

Her voice and song selection work well, going over the top at times to nail the tune with all the requisite pomp and circumstance but also experimenting in unique ways.

This is a much-needed dose of Silver with young cats Shaw and Henderson, guaranteed to lift your spirits.

This combo of fidgety indie rock and uneasy dance tracks works well on Thee Black Boltz, Tunde Adebimpe’s successful solo debut.

The album has a joyous feel and familiarity even by those who have never heard U-Roy before. Each tune rings vibrantly with highlights being the artist’s earliest hits of “Wake The Town” and the cheeky “Wear You To The Ball.”

Tracked largely in analog, Dylan-style, and featuring L.A. players like Amy Aileen Wood (Fiona Apple) and Wayne Whitaker, For the First Time, Again sounds richly vintage. Though nearly flawless, its loose approach leaves open the question of how Tyler might sound in a more modern, ambitious setting.

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.

Though darker than most Garbage releases, No Gods No Masters is no less catchy than the albums that produced numerous hits in the 90s.

For all the celebrated figures accompanying him, Ian makes Fiction his show, one that’s as (thankfully) understated as it is penetrating.

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.

One can’t help but marvel at Clay’s talent in this ambitious effort which may seem a bit uneven at first but reveals its cohesiveness in repeated listens.

Dawes certainly achieved their goal of honoring the vinyl format in this ambitious recording, which is more organic and musically aware than its more recent predecessor albums.

This inventive collection of songs crosses genres decades, from iconic artists spanning FKA Twigs (“Mirrored Heart”), to Cat Stevens (“How Can I Tell You”), Rancid (“Olympia, WA”), to Karen Dalton (“Something’s On Your Mind”), to the Stones (“She’s a Rainbow’) and The Grateful Dead (“Standing on the Moon”) all cohesively tied by Tuttle’s clear voice, astonishing range, and stellar guitar playing.

Ultimately, Fragments is yet another thought-provoking installment of the Dylan’s discography, not only in direct reflection of its source material but also on its very own terms.

This is a band that has stayed true to its singular, languid, atmospheric sonic to best frame Margo Timmins’ vocals. Even when they step into denser and occasional harsher sonics, they manage to successfully retreat to this infectious comfort zone. We can’t call The Cowboy Junkies a national treasure, but an enduring, consistently strong North American treasure will do just fine.

It is possible (even likely) that you will appreciate this album the first time you listen to it. But don’t just listen to it once and then file it away because the more you listen to it, the more you appreciate it. Especially if you blast it as loud as you can stand.

Any topic Scott touches across the album (sexuality, religion, oppression, et al), she does so with bold self-confidence and a sharp pen.

Big Thief have taken the seeds of introspection that we caught glimpses of on Masterpiece and which showed up in a strong minority of tracks on Capacity and zeroed in on that characteristic, building an album around that subtlety of expression.

Punisher is a worthy follow-up to Bridgers’ impressive debut, building upon her distinctive style of storytelling while adding a bit more flavor. Though mostly soft and measured, the poetic imagery and occasional bursts of dynamism keep the album from ever getting dull.

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.

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.

This is a vital and worthy addition to Jones’ diverse catalog, surely with the potential for her tenth Grammy win.

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.

Swinging Stars is not only Mapache’s best album to date, it is a pillar of the band’s restless creativity. For 14 tracks, the duo dips their toes in every corner of folk and emerges with something so unique and personal it’s undeniable.

While the album dips into lows, the highs make it all worthwhile. Phonetics On and On is a daring second album with the band seemingly coming out as a new band, one obsessed with infectious melodies and fanciful harmonies dancing around glimmering acoustics and cinematic strings.

Like much of what we’ve come to expect from Calexico there are plenty of textures and colorful layers in these pieces, with the bonus of Beam’s image-rich lyrics and gentle affecting vocals. It’s special.

1 2 3 4 is the perfect companion to 2017’s underrated Take Me to the Trees and a record that continues to solidify the band’s relevance four decades into their career.

Sky Blue ranks with Townes’ Live at the Old Quarter, a similarly intimate album, long regarded as one of his best. This, for many, will be more intriguing as it shows Townes laying down his tunes with sheer confidence and dripping emotion.

There’s a careful sequencing to the record that one can only appreciate listening to it in its entirety. Let it take you places.

The band found the perfect balance of what they know and what they hope to become, making O Monolith a considered sophomore effort that proves Squid’s placement as one of the most exciting bands in years.

Doves has stayed true to their sound and as the result they have made an album that fans will want to listen to over and over.

Ghostface Killah’s Set The Tone is a sprawling album with risks that give some rewards and moments that uplift the whole album. While the LP dips into songs that sound forced, the authentic tracks make up for the lost time. He shows that he can keep up with any of the modern rulers of the genre. His rapping abilities and booming delivery have matured like fine wine.

The combination of Wall’s vivid imagery and his sense of tone gives these songs a cinematic feeling, Little Songs is just as much a novel-turned-movie as it is an LP. Colter Wall has another terrific record to add to his discography, one that cements him as Country’s next legend.

The songs on The Traveler are tight and streamlined, with no particularly lengthy solos and little frenetic fretboard shredding. ... Instead, the focus is on good blues-based rock songs with catchy grooves, sing-along choruses, and memorable lead moments. Shepherd still shows his six-string mastery, especially on “Turn To Stone,” but he does so in much smaller doses.

Yes, this is confessional song writing but it’s done in the spirit of helping others who have felt similar emotions. She’s baring her soul in a selfless manner, hoping to help others move forward. The sound of Lucette is appropriately contemplative and reflective. It stands apart from most.

Ferrell’s unique approach and broad sonic palette will have this album garnering plenty of attention. Don’t be surprised to see it land on several year’s end best lists.

Existential Reckoning is a gem of a record that reasserts Puscifer’s place not just in pop culture but in the whole Keenan milieu. As their first album in five years, it’s a stunning return for a band that now feels on pace to shine as brightly as its founder and leader. Whether an old fan or new, Puscifer delivers dose after dose of electro-rock madness that all adds up to the best album of the band’s career.

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.

As good as last year’s I Told You So was, this is an even stronger response to their already highly raised bar.

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.

While you’re trying to keep up with Jacklin’s detailed songwriting, you may miss what is going on behind her well-crafted melodies. On Pre Pleasure, her typical acoustic rock sound is intertwined with lush string sections and hints of experimentation.

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.

As the avid completists and longstanding fans decide whether they need the whole of The Later Years 1987-2019 for the sake of the books and peripherals the mammoth compendium contains, more than one music lover who aspires to maintain a grasp of contemporary rock history may find this Pink Floyd title is more than just a sampler album. Its instantly-recognizable cover imagery and the kinetic photo array in the enclosed booklet are more than just cosmetic inclusions, but a reflection of the music inside.

On What Chaos Is Imaginary, Tucker and Tividad have created an album that find the duo embracing their personal changes while still writing honest and deep lyrics. The harmonies and melodies on the album are far above those on past albums.

Anybody Out There? may have been four years in the making, but it proves to be well worth the wait.

Every Jarrett solo performance holds its own magical appeal and Bordeaux certainly holds its own with any of the others in his storied catalog.

Their consistently unpredictable high standards keep the rest of us interested as well, and have turned them into something pretty special.

Shame’s style clearly display influences from classic post-punk bands like The Fall and Wire on Drunk Tank Pink, while carving their own path in this unknown spastic present while leaning towards an uncertain bleak future.

While The Makarrata Project is, overall, more of an exercise in maintaining rather than innovating, it is nevertheless a work replete with the customary philosophical and musical intelligence the Oils have displayed throughout their history.

The record is consistent in its songwriting, from that wry opener to the closing song, “If It Was Up To Me,” a love song to humanity of sorts about running the world that dodges the hokiness for relatable earnestness and ultimately results in a stellar record that shows the results of two decades in the making.

Junior blends a cocktail of urgency and euphoria, delivering a woozy, rosy-cheeked buzz that warms from the inside out.

The hour of music on The Clientele’s I Am Not There Anymore flies by with a widely entertaining gusto while satisfying the band’s restless creativity.

While it is stripped down in terms of personnel, there are plenty of sonic layers at play, resulting in her most sonically adventurous effort to date.

Up on High does a fantastic job of combining a multitude of influences and creating a sound that is unmistakably Vetiver. The pared down tracks can be numbered amongst the best that Cabic has produced, making Up on High one of the best albums of Vetiver’s career.

Lillie Mae is constantly on the move and her tunes reflect that, Other Girls resonates on failed relationships, dull pain and trying to move past the hurt.

All extraneous matter has been effectively distilled and dismissed. This is tight, in-the-pocket playing, honoring the song, and letting the pure joy of the music flow effortlessly.

Quite possibly his best album in a career already studded with accolades.

Moonshine (the album) weaves lyrics dealing with simple things like moving with feelings about politics and the human condition to create an album that really resonates in this day and age.

Shires is clearly stepping into her own with Take It Like A Man, an album of struggle, rebirth and grappling with insecurities and uncertainness while keeping the will to progress as a couple and individual artist alive.

With its minimal instrumentation and bare, veiled lyrics, Eight Gates feels less like a complete record than a part of the creative process that would have ultimately resulted in a more realized collection of songs. In this sense, it doesn’t stack up to the same artistic level as any album from Songs: Ohia, Magnolia Electric Co., or even Molina’s 2012 solo album. Instead, it provides a fleeting final snapshot of an artist who was broken and seeking reflection on his sick and troubled state of being. For longtime fans of Molina, Eight Gates offers a sense of closure and insight on where he was artistically and mentally during the last years of his life.

The galloping “Mango Terrarium” and freakout closer “The Tales of Gurney Gridman” both stick around a bit too long, however, when SHYGA! The Sunlight Mound wraps up, fans of driving psychedelic rock will be sporting a permagrin from consuming this newest dose of the Psychedelic Porn Crumpets.

The well-decorated singer-songwriter is well past the point of trying to prove anything. Yet, it’s refreshing to see Carlile embracing new approaches. And, of course, it’s beautifully and articulately rendered.

The result is easily her strongest effort to date, and a perfect take, both musically and lyrically, on the conflicting emotions and themes of love.

This album is especially personal.” Not only that, strikingly, while not a quantum leap, it’s a major step forward in lyrical and musical intensity from its predecessor.

Brijean’s new album Feelings is an exciting lush and layered sophomore effort.

On Teeth Marks, we see an artist working through that coming fully into their own and with the confidence to tackle love in a compelling and refreshing way, along with the many joys and scars that it leaves in its wake.

Expressive solos from trumpet, violin, guitar, and keys keep the tune choogling along, with ever-active percussion as well. “Coney Bear,” from guitarist Bob Lanzetti begins with his funky strumming before blossoming into a mix of soaring synths and horns interspersed by frenetic funk passages from the rhythm section. The closer, “Trinity” from fellow guitarist Mark Lettieri takes its name from Trinity River that connects Dallas, Fort Worth, and Denton, the band’s hometown. It features searing guitar lines in a rather angular take with strong horn lines navigating several rhythmic changes, far less direct than many of the others in the set.

Along with bassist Alan Anton, the band’s lineup has not changed at all since their 1986 debut and, thankfully, though they’ve grown as musicians and songwriters over the decades, the core of the band’s sound is the same as it ever was.