Where Go stood as a natural outlet for stifled creativity, Shiver extends Jónsi’s prowess even farther. Both may prove to be products of their times, but both serve as deeply singular bodies of work.

Neil Young & Crazy Horse renewed their musical bond during a handful of impromptu shows in 2018 and then repaired to the Rocky Mountains to make Colorado. It is a similarly spontaneous affair, one that is perhaps too informal for its own good at certain points, but one that nevertheless captures the potent chemistry between these seasoned musicians.

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.

It’s very dreamy and a bit fuzzy; but magnetic. Once pulled in, it’s hard to let go. It’s a mysterious place that seemingly offers no easy exits.

Arguably the band’s most ambitious and melodic record in their two decades of existence.

Rolling Blackouts Coastal Fever delivers a slice of summer with the successful Sideways to New Italy as the band keeps rolling on and smiling all the way.

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.

No songs go on too very long here. As a result, the inclusion of improvisational warhorses such as “Cowgirl In The Sand” and “Down By The River” is all the more surprising. But both those culls from 1969’s Everybody Knows This Is Nowhere benefit from the solitary nature of their stark renditions, as does, to an even greater degree, “Helpless,” Neil’s contribution to Deja Vu.

The consistently heart-wrenching lyrics of Mercer combined with Danger Mouse’s ability to craft luxurious instrumentals give Into The Blue its colorful personality. Within the 40-minute run-time of the album, the duo explores new territory while Mercer’s poetic songwriting keeps Danger Mouse’s spaced-out instrumentals grounded.

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.

The result is a freer flowing record that admittedly takes a few sessions to really stick, but once it does, you realize that it just might be – song for song – their strongest album yet.

Jurado easily toes the line between seclusion and introduction, crafting an album where even the most immediate tracks sound restrained and well worn. He took charge of the production for this album himself, and the product serves as one of the more accurate presentations of his sound. As new and refreshing as it is, it captures Jurado’s enigmatic process better than most of his albums.

Just Dropped in (To See What Condition My Rendition Was in) is a heartwarming posthumous release by Sharon Jones & The Dap Kings that adds some heat to a series of familiar tunes that simultaneously pays tributes to Jones’ influences while honoring her legacy as the Godmother of a neo-soul movement that made stars out of the likes of Adele, Amy Winehouse and Lana Del Ray.

72 Seasons is an impressive metal album, not just for a band 11 albums and 41 years into its career, but for anyone. It packs a punch and doesn’t let up on the assault for over an hour of menacing guitars and head-banging rhythms. In the end, that’s what we want from a Metallica album, and that’s what 72 Seasons delivers.

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.

No wonder this eccentric ensemble continues to make albums like Valley of Abandoned Songs that reaffirm the notion great music is timeless.

There’s no better modern bluesman on the scene today than Birchwood. He consistently delivers the goods and Exorcist is his latest adventurous chapter..

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.

“Even the Sparrow,” however, leans more directly into gospel, with the unison lines of the sax and electric violin creating blissful harmonics. Yes, even this one explodes into shrill, combustible sequences as it evolves. These ten pieces are a preamble of sorts to the explosive closer, “Fear Not.” ... Yet the six sound seekers find an anthemic melody, after a beginning of restless chaos, reaching a surprisingly peaceful resolution.

If this LP isn’t so groundbreaking as Tommy, it’s definitely a logical extension of The Who By Numbers and certain preferable to the forced and pedestrian It’s Hard.

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.

If you’re looking for fast, lighthearted punk music in the Buzzcocks vein, look no further. With their smashing drums and Zulu Robson-esque snarl to Sandwith’s voice, The Chats suberbly capture their day-to-day life in Australia as the true inspiration for their work. The ability to translate their influence and perspective makes them a much more accessible band than most.

As an album from a constantly evolving musician, one who is often as confounding as he is exploratory, Foreverandevermore is approachable in its bleak outlook. Eno captures the sound most definitive to himself, evokes his best work in the process, and manages to weave something of a concept album into the mix, which makes it one of his most fulfilling albums of the new millennium.

He has created a modern blues album that is as much a protest album as it is a dance album. That’s not something just any artist can do. Also, the album is 16 songs, so no listener will feel cheated.

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.

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.

This album is a success, albeit one that does little to distance itself from the releases that came before it. Each track shares the percussive and wonky tone of Face Stabber but Dwyer knowingly infuses enough melody into the highlights to make for a few key standouts.

This album shows Rose’s ability both as a singer and a songwriter. She not only has a way with words, but also a way of delivering them for maximum impact on the listener. Another thing about this album is that it could fit the bill whether you want to dance or just sit and drink by yourself.