While Isbell may be the driver here, he is more than generous, putting the spotlight on his various guests, and giving his band the opportunity to show their potency and versatility.

The songs here are a perfect continuation of Walking Proof, especially the musically breezy title track with deeper lyrical meaning, summing up the exhaustion and loneliness many felt over the past year.

More than anything, the album is simply boring. None of Morello’s solos feel particularly inspired. None of his grooves get enough room to breathe. None of his jams particularly rock.

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.

I Want The Door To Open stands in stark contrast to The Lamb, setting opposing goals and aiming for a different audience, but both remain uncompromising visions of West, a songwriter whose proven on top of everything else, her inventiveness.

The Dharma Wheel was designed to transport the listener away from the pitfalls of the current world via elongated tunes as Howlin’ Rain dramatically plugs in and pushes onward. They don’t always hit their intended mark but no one can accuse Miller and company of dreaming small as the band remains one of rock’s most inventive voyagers.

There is a massiveness to the music here that belies the folk-rock label Strand Of Oaks is usually classified under, and many of the songs here have an expansiveness begging for arenas rather than the traditional indie rock and folk clubs. Given the past year and a half, the themes of In Heaven are likely to resonate strongly with a global audience.

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.

Unfortunately, the biggest misses are at the heart of the album, as the over-long and manic “Pink Lunettes” is crazed from a bad drug trip or just 18 months cooped up, pin-balling around searching for meaning with grating lyrics. ... The finale recalls the opener with a swirling mix of electro, longing, and strings, pedal-affected guitars and keyboards, doing an admirable job recalling the best of Pink Floyd but skewed through a modern filter, bookending the shaky 9 on an exhilarating note.

The range of twenty-three selections total delivers consistent impact over the course of the ninety minutes duration.

It all adds to yet another triumph for this singular artist, a preeminent voice of our times whose command of vocal and musical dynamics is the perfect complement for both her straightforward and oft ambiguous lyrics.

The Heartless Bastards have constantly evolved but Wennerstrom has been consistent, the outfits voice, heart, and soul; A Beautiful Life puts those perpetually on display.

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.

Even when Local Valley is working as well as his last few releases, it’s hard not to wish for a little more than consistency.

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.

Side-Eye NYC (V1.IV) is, again, a natural and comparably diverse extension of his ongoing ambition(s). Satisfying as it is as (re)new(ed) Metheny music, this album will also whet the appetites of his aficionados and jazz lovers in general for future installments in the series.

One of the more melodic tracks here “Days Like These” chooses not to bog the listener down in platitudes but instead affirm the feelings and exasperation of the audience. Low have toed that line particularly well, while still expanding the breadth of their sound to contribute another truly great album, one that ranks among their very best.

Senjutsu is an album that respects the lineage and history of the band without rehashing previous works. The result is one of the best albums of the band’s entire career, one that stands tall next to Fear of the Dark and Seventh Son of a Seventh Son.

Harmonizer shifts from that tone halfway through the glam rock spiced “Pictures” which starts off like a gangbuster only to switch halfway to a minimal stripped-down effort in odd fashion, resulting in two songs shoehorned into one to the detriment of both. The downer “Ride” drags as well, but the confident strutting riffs around the silly lyrics of “Play” picks up the pace. The dabbling in Black Sabbath-like sludge metal (“Waxman”) and intriguing post-punk sung by his wife (“Feel Good”) prove that you can never pin down a style with Segall.

While Screen Violence doesn’t quite meet the standards set early by the band, it’s still delightfully moody synth-pop that can be enjoyed equally whether on the dance floor or quietly contemplating the violence it depicts.

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.

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.

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.

Though not exactly a stunner of an album, it is a solid return for these foundation layers that serve as an awesome reminder of who they are and their place in the wider scene.

It is a multifaceted album of contrasts that melds pop hooks, rock guitars, and beautiful melodies in a way that crosses genres and tones and rewards careful listening.

Deafheaven have always been a challenging band and this album seems to work as a direct challenge to fans who might be intent to just pigeonhole them into a singular style. Fans willing to do the work, however, will find a lot of reward in Infinite Granite, even if the initial shock is off putting. ... Infinite Granite feels like the exact album Deafheaven wanted to make, and their commitment shines through in every track.

The result leaves the listener the way the best ambient music does, comforted, beguiled, and refreshed, and when the disembodied voice finally chimes in on “Sky Burial” it’s just enough to pull the listener in for the final stretch.

Year of the Spider continues Shannon & The Clams run of catchy, quirky offerings while dealing with the pain and loss that is everywhere.