Ozarker finds Nash tapping into an entirely different genre for inspiration and the result makes for one of his best albums so far. From the big guitars to the anthem-like choruses, Nash’s latest manages to update a sound that resonates both comfortably and refreshing at the same time.

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.

If you’re going to listen to one new release this week, make it Squirrel Flower’s Tomorrow’s Fire. Ella Willams crafted a meaningful album that showcases her limitless potential without disregarding the nuances of her artistry that make Squirrel Flower so unique and powerful.

Jonny is an album you need to listen to front-to-back in order to understand the full vision, nothing about this album should be skimmed over.

Javelin is a poignant snapshot of Stevens’s journey to this point in his career and pushes the boundaries of his art to their most jaw-dropping and potent. Javelin is another technicolored and honest feather in Sufjan Stevens’s hat, a feather that feels freeing and warm as the artist gives us some of his best work in years.

The NYC disco-pop outfit delivers a lot of grooving, dance-ready options.

Slow Pulp keeps those odd touches in place, scuffing up a very pretty album just enough to keep things interesting throughout Yard.

Pure energy, passion, and joy ring throughout, as “Elijah Rock” is one more case in point that shows that James Brandon Lewis can make a tribute album sound as original as possible.

Sit Down for Dinner is an album you need to hear multiple times to understand the nuanced beauty of it all, allow Blonde Redhead to wash away the worries of reality and view these stressors through their technicolor, melodic lens.

Cousin is the band’s most avant-garde album in years, as Tweedy unleashes ten moving pieces of poetry set to unpredictable arrangements that all evoke the feeling of warmth despite their cold disposition.

Lydia Loveless’ Nothing’s Gonna Stand In My Way Again is a cathartic release without a strong resolution, as the journey is the focus, staying strong through heartbreak, mental stress, and much more.

On his fifth studio effort, Brent Cobb has never sounded more relaxed. And the calm, self-assured flow of his vocals is not particularly out of place for this always-on-the-cusp-of-making-it-big Americana artist, but there is a laid back flow to Southern Star that is hard to ignore and nearly impossible not to love.

At this point in their over thirty-year career, Teenage Fanclub is confident in their mixture of light touches around an indie rock foundation and Nothing Lasts Forever continues them on their journey.

In just two short years, Russell has emerged as one of our most important voices, and The Returner further projects her voice and career.

Art Dealers may just be his best album yet.

Each poetic song on The Land is Inhospitable and So Are We paints a powerful picture that is made more captivating by the orchestral and choir arrangements. It’s a risky record, but one that pays off much better than trying to be rid of a soul.

The real highlights for Woods this go around are the four instrumental efforts that each have a distinct vibe yet are linked spiritually. Rather than acting as placeholders they take root as distinct works.

A balance of material, performance, and production mirrors the bandleader’s emotional equanimity in such sublime fashion, Relentless is as close to perfect as long-player out this year.

Baroness has carved out its own niche within the metal landscape. On Stone, that landscape is thoroughly explored, from the depths of the dirtiest sludge to beautiful rootsy vistas to the expanse of the cosmos.

End feels like the soundtrack to life, placing you as the main character as the band crafts dynamic instrumentals that melt like gold and shine just as bright for their best album in recent memory.

The record starts off with “Lowland Trail,” a solid folk/country hybrid, but it’s on the next two tracks where she really shines; the horn-laden, unrushed “Keep It on A Burner” and “I Remember Carolina,” an undeniable earworm up there was with John Prine when it comes to charmingly sly wordplay. Across 11 tracks, the album is a near flawless exercise in songwriting.

End of the Day is a bit of an enigma. Fans of Anonymous Club may enjoy the atmospheric score and recall some of their favorite accompanying scenes from the documentary. For everyone else, there’s not much to get out of it.

Bird Machine allows the nuances of Linkous’s unique artistry to take center stage while keeping even the most hectic moments intimate. These 14 songs put a stunningly beautiful bow on the Sparklehorse discography while being so distinctive and magically stirring, they stand in a spotlight all to their own.

While this may not become your favorite James Blake album instantly, it is one that toes the delicate line of pleasing the world while staying true to yourself. Playing Robots Into Heaven is a snapshot of Blake’s ambitions while still sounding present and urgent.

Slowdive has created another masterpiece and shown why they are one of the most respected bands of the shoegaze genre.

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.

Capricorn by Eddie 9V is proof that his aptitude for soul music is just as strong as his aptitude for the blues. He shows that he can sing the slow smooth songs just as well as he can shout with the best of them. Be ready to do some dancing when you hear this one. Also, be ready to feel better at the end than you did at the beginning of this mood-boosting album.

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.