“Belonging” lives up to its name with a series of sleek parallel lines of playing that ultimately intersect. There’s a minimum of friction and a maximum of concordance on that track, which might well be an accurate means to summarize the whole of the Branford Marsalis Quartet’s Belonging.

Halvorson, as she has done on previous efforts, blends herself into the ensemble, rarely taking center stage, allowing her compositions to do so instead.

Her obsession with the past, recent losses, and more directly with mortality is overwhelming. If you are feeling down, it’s best to avoid listening. Okay, you have been sufficiently warned. There are, of course, positive aspects too. Her poetry is as rich as ever. She does have a couple of optimistic tunes, and her thought patterns often resemble those 3 AM dreams. Well, maybe that part isn’t so positive, but they are certainly relatable. The album is also somewhat deceptive.

‘It’s not all about me,’ Paul intimates, and, sure enough, he reiterates his point, albeit delicately, on “Part Two” of the composition that began the album. Still, if Kelly dares to suggest anything profound on Seventy, it is only through his wilful implication that the narratives surrounding us are as absorbing as our own, at least when perceived within the generosity of spirit permeating these recordings.

After all the snark, self-effacement, and emotional guardedness that precede it, “All I’ve Got” lands with a genuine tenderness that makes the album feel emotionally honest.

Against the Dying of the Light is an admirable work whose musicianship in the telling far outshines what is ultimately told and creates many beautiful moments of reflection.

With every message of love comes a juxtaposing string section that leans on the opposite emotion, giving the album, and Kiwanuka’s music as a whole, a newfound emotional depth. Not that Kiwanuka’s previous releases were void of emotions in the slightest, but this new packaging gives his sentiments a new shine. Small Changes force the artist’s words into the spotlight like never before, allowing the full scope of Kiwanuka’s perspective to hit harder and stick with you longer.

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.

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.

Everything Was Beautiful pulls heavily from throughout the Spiritualized catalog, whether it be the Ladies and Gentlemen-era “Best Thing You Ever Had”, the soft, sentimentality of Pierce’s mid-career work on “Crazy” or the lush balance of And Nothing. All those influences, and their tonal similarities to his last album, never distract or take away from the conceptual success of Everything Was Beautiful.

The record sounds bigger and Shook and her band mates take full advantage, filling in all of the open spaces. Her cadence, much like that of Willie Nelson, has a tendency to lag a bit behind the music from time to time, just adding to the charm.

Wagner is not constrained by locale, genre, or topic, and at 64 he continues to forge forward with Lambchop, delivering his music with restrained tempo and majestic tonality on The Bible.

Cruel Country has a lot to offer musically and lyrically over its twenty-one tracks. However, fans might be disappointed to find that it has a conspicuous lack of upbeat rockers and Nels Cline guitar solos. It does a great job though of offering up different dynamics throughout so that it never feels stale.

As per usual, Burns adds his layered touches with synth, vibes, and cello in addition to the guitars and bass. Brown’s poetry stands distinctly apart from the Burns/Convertino writing in its short poetic lines in the former, a tune that regales the history and gods of the desert.

It’s “out there” but most of it is remarkably accessible, especially the raucous “Summon the Fire.” It’s transcendent music that relies on electronics, notably heavy use of reverb and tape delay, but Hutchings is a fiery sax player who blows aggressively while safeguarding the melody.

If an album can make you cry, this one will. It’s a stellar performance for the ages.

Despite containing infectious anthems like The Cure-inspired “One More Day” and pop-punk powerhouse “Chain Reaction,” Cotton Crown is a complex yet highly rewarding listen.

American Love Song is classic Bingham.

The beauty in this album lies in the delivery. Her vocals can easily kick your ass and will readily give you the bird, yet she switches these sentiments for vulnerability and pure honesty while remaining distinctly tough. She is a legend at 61, yet she sounds just as vibrant as her landmark album, TNT.

Crockett has a potpourri of songs here, from the relatively simple country ditties, to arresting narratives, to those filled with symbolism that demand multiple listens. He remains squarely in the front row of today’s best writers.

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.

McFerrin convincingly proves he’s got a handle on contemporary R&B, the kind that’s being fused with jazz, hip-hop, and spoken word. Keep an eye on him. This is just the beginning.

While Highway Prayers may surprise some fans due to its genuine old-school bluegrass environs, it ultimately stands as yet another testament to Strings’ unmatched artistic genius.

Having grown from teenagers to adults during their time away, there isn’t that vibrant, chaotic spark of their past records. In its place is a self-assured swaggering that fits Be Your Own Pet well as they successfully start the second chapter of their career with Mommy.

The aptly titled, Deserted finds the old rabble-rousing crew in fine form.

Component System With The Auto Reverse has OME at his best, whether he is diving into his personal life or simply crafting clever rap verses, the seasoned artist hits it out of the park every chance he gets.

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.

As the album nears its end, it gets more luminous.