The combination of strong, ear-catching musicianship, confessional in-the-moment lyrics, and engaging vocals makes Blondshell’s debut an invigorating success.

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.

It’s interesting that while the previous album had an intergalactic feeling, this seems a bit more acoustically grounded, a deceptively simple yet complex sound that grows in appeal with continued listens.

Sam Evian created a potent LP with Plunge and keeps the album exciting by piecing together his lofty ideas and loosely tying them together via their unpredictable tendencies. By allowing even his loftiest visions to settle into his honed song craft he created a brand of pop music he can proudly call his own.

Even at its mildest moments, Duffy asserts themself with an energetic catharsis.

God Save The Gun is a daring yet rewarding sophomore effort from a band seeking solace in the hectic pace of creative success, coming to terms with its pitfalls, and crafting a honed 14-song collection of brutally self-analyzing, immersive rock.

This six song collection from Daptone Records is a vibrant display of what Antibalas does best; fusing the spirit and soul of Fela Kuti with modern funky sounds.

‘Flicted, the latest studio offering from the ivory tickling minstrel, continues his dexterous ways with a formidable collection of material that challenges the listener, without being too overbearing, and is bolstered by a fresh batch of inspiring collaborations with some of today’s most prominent musicians, including Ezra Koenig (Vampire Weekend) and Danielle Haim (Haim).

Accompany is Nau’s best solo effort to date. The artist traverses twangy arrangements with his heart on his sleeve for a calming set of tracks. The unassuming nature of these songs emphasizes Nau’s songwriting prowess as he pens some of the best songs of his career.

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.

King Gizzard made sure every guest felt welcome without sacrificing their true range. While Phantom Island is a consistent and stadium-sized effort, each song feels like its own little universe of musical solace to get lost in.

While the rest of the Power Up is still the same medicine, it remains a grade of B or better. No ballads and no “rock” titled songs on these 12 shakers. Call it now –Power Up is the strongest AC/DC lp since 1990’s The Razors Edge: Well done boys.

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.

Bejar’s return to his Destroyer moniker is a welcomed continuation of his colorful discography while introducing a new side of the artist’s balladry, one that is a welcomed shift in the pantheon of Bejar’s sonic explorations.

Under the Spell of Joy allows Death Valley Girls the freedom to explore and the structure to tighten up as they communally dance and shake along the void.

All in all, Quever does a great job of marrying all of his influences together to create his own sound that is both timeless and new. Fans of Papercuts will undoubtedly enjoy Past Life Regressions and those new to Papercuts have much to look forward to by giving it a listen.

Alice, long regarded as one of the pillars of spiritual jazz, is at her most deeply spiritual in this setting, one that has only minute traces, if any, associated with jazz.

As on the previous record, these tracks are pieced together and arranged by bandleader Stu Mackenzie from group jams before being augmented with overdubs and vocals, and on Denim the band sound even less encumbered with the idea of traditional songcraft – though they manage to craft a great pair of songs here.

Bear could’ve gone in a million different directions, and rather than land on a singular sound to explore as he has in the past, he employs a plethora of styles that collide into one mesmerizing tracklist that grows on you with every listen.

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

Possession finds the psych-rock hero piecing together a comprehensive portrait of his artistic range, which, this time around, manifests in Sixties pop-influenced melodies that swirl around blazing guitar solos, acoustic solace, and bouncy nostalgia.

Never shy with their political activism, Plastic Eternity is a battle cry for those who share the band’s beliefs. For those who don’t, it’s still a fun alternative album that channels political fury into a fiery collection of aggressive rock.

Shires displays her reverence for Nelson in her fiddle playing and with some of the most impassioned vocals in her career while showcasing Nelson’s pianism, giving her a fond, tender farewell, Texas style.

Only a confident and fearless songwriter could take on this kind of subject matter and make it resonate.

Some of It Was True feels like a noteworthy stepping stone to the next era of The Menzingers with moments of moving songwriting and masterful musicianship that build on the ironclad legacy of one of Philadelphia’s greatest artistic offerings.

Ultimately, it’s a fun record and one that begs the question of just how big this band could have been in the succeeding decades if they had not imploded on takeoff.

Overall, it’s a great listen in the car or for a gathering of friends, but the lyrics and diversity of sound surpass previous efforts, offering a rewarding, focused listen.

Each of the three volumes stands alone as great compact albums of indie pop, but they work better together, with each volume featuring a slightly different take on the material.