Only God Was Above Us is more than another Vampire Weekend album, it is an amalgamation of their storied career and experiences wrapped up in a fearless take on what their genre can become.

Musically, songs like the rollicking “Dogbane” and the classic country vibe of “Stone Door,” find the Disarmers at their most adventurous taking risks that manage to pay off just about every time here. Revelations finds Shook and their band at their best across all 10 tracks.

The collective clarity of mind on cuts such as “Monaco” keeps them focused and to the point. And while both the musicianship and the material In songs such as “Last Frontier” sound distinctly of that time in the mid to late Nineties when Ride pioneered what is now described as ‘shoegaze music,” it’s also pertinent to that period when it took courage to leave the home even as it was psychically suffocating to stay inside. No question there is a tangible confidence suffusing Interplay.

The singer-songwriter’s twelfth studio album mostly sounds like 2000s-era Crow with some contemporary flourishes in the production. Crow’s diverse vocals are still solid, ranging from country twang to soulful croon and saccharine pop.

One could quibble that the album seems just a bit static in places with little change in Lloyd’s musings and the re-airing of several staples in his repertoire, but those quibblers should listen to the sheer ecstasy in “Monk’s Dance,” the album’s brightest moments.

The album is consistent on the surface but a deeper listen unveils blissful tunes that come alive via unpredictable sonic twists that get better with every listen.

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.

The sound quality is crystalline; remarkable considering how long this has been sitting in the vaults. The tone remains most serene for the first five and half minutes. .... The audience applauds after Jimmy Garrison’s bass solo thinking it’s over but the tenors and piano resume to take it out. This music is by contrast so ridiculously intense compared to the first half.

Tigers Blood album is yet another big step forward in her evolution from critic’s darling to one of the most dependably great indie artists performing today.

Glasgow Eyes takes the band’s experimental noise pop further. The expected elements are all there, from the brooding lyrics to the droning guitars to the intricate melodies. Still, incorporating electronic elements adds extra flavor for those who’ve already played Honey’s Dead a thousand times and don’t need another one.

The second segment begins with a solo lullaby “To The End of the Earth” followed by the warm trumpet tones of Keyon Harrold in the smooth, string-imbued R&B ballad, “Alone Together” with Clark Jr. singing falsetto. The empathetic mid-tempo funky shout-out for the homeless “What About the Children” features Stevie Wonder, sharing co-writing credits, singing with the leader, as well as playing his signature clavinet and harp. This is the album’s most cohesive segment. .... Take the album at its intentions. Clark Jr. is blurring the genres, as he strives to be an important voice of hope and positivity.

This album is still very much a Lenker solo project with minimal arrangements and honest songwriting but thanks to some fearlessness and a bit of patience, she can make Bright Future stand out from the rest of her solo work.

On Happiness Bastards the brothers Crowe retreat to their safer classic rock roots with efforts that gun for mid-70’s arena swagger, falling short of the band’s prime, a touch uninspired and derivative of their best work.

However much Julian stretches himself, however, he never abandons the warmth and fluidity that distinguishes his playing.

This is a vital and worthy addition to Jones’ diverse catalog, surely with the potential for her tenth Grammy win.

HOPIUMFORTHEMASSES, while not up to the band’s overall best (Psalm 69, Rio Grande Blood), is a very solid Ministry album during these insane times.

1 2 3 4 is the perfect companion to 2017’s underrated Take Me to the Trees and a record that continues to solidify the band’s relevance four decades into their career.

Their ambitious sophomore album establishes them as a timeless act, a group of artists hellbent on saying what they want to say and nothing more. They proved they deserve every bit of praise while glossing over it to create an album so chaotic and stunning, it already feels timeless.

El Viejo is a stunning character study of gamblers and loners moving from card game to card game, perfectly bridging modern Americana with the likes of Jerry Reed, Del McCoury and Marty Robbins with a Springsteen-like sense of storytelling in three-minute bursts.

The ever-evolving Joel Ross has taken a step back and forward at the same time. If this is your introduction to his gorgeous music, it’s an auspicious place to start that will likely lead to seeking out his previous work too.

Real Estate seamlessly ties in the esoteric with the relatable, landing on a short but powerful LP that simply asks you to question everything without demanding an immediate answer.

Throughout the nuanced Untame The Tiger, Mary Timony pushes and pulls with experimental wanderings and pop leanings, successfully delivering an engaging album that deals with grief, forlornness, and starting over with a blank slate.

Clearly, this is the crowning jewel of Hurray for the Riff Raff’s catalog, and surely their most honest, cathartic songwriting.

Compassion reveals one of today’s most fully rounded piano trios on their second foray, transportive music of the highest caliber.

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.

Lytle has been here before, ending his main act, but if Blu Wav is indeed the final bow from Grandaddy, it is a solid, restrained offering and a fitting coda to their catalog.

Appropriately enough, fun and adventurous are two pretty apt descriptions of Hole In My Head, a stylistically elastic record that covers folk, pop and rock all filtered through the experiences of a lifelong punk rocker.

Sonic Youth is criminally underrated and fans of adventurous, guitar-driven rock will find tons to like from their wide-ranging, rich career. Walls Have Ears is just an early drop in the sonic bucket.