At once challenging and inviting, Praise a Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) is another dazzling work from a creative whirlwind. Tumor may never find the answers they're seeking, but hearing their search is exhilarating and inspiring in its own right.

Visuals are such a crucial aspect of their performances that the set will naturally fall short of making you feel as if you are there.

There are instances where the lyrical content edges too close to "artsy" teenage erotic poetry, but no song is without an attractive quality, whether it's a heavenly melody, a riveting rhythm, or a boggling production nuance.

Marling is an old soul through and through, and her remarkably timeless voice, idiosyncratic lyrics, and increasingly impressive guitar chops help to elevate the album's less immediate moments, and while some may argue that her increasingly Americanized, Pacific coast folk-pop can feel a little like fan fiction, it doesn't make it any less enjoyable to sink your toes into.

"Get Numb to It!" is a late-arriving outright banger with headbanging drums, a soaring singalong chorus, and lyrics that include "do do, do do do" as well as an anthemic "No, it never gets better/It just gets twice as bad…So you better get numb to it/Get numb to it." The rest of WWBWWGFH is just as nihilistic, a potentially appealing trait given the global tenor of its time.

Cinematic, fantastic, and essential to all who want their music larger than life and rambunctious, Thunder, Lightning, Strike is the kind of record that makes you glad to be alive.

Heart's Ease goes further, revealing she's still a vital performer and an artist willing to explore new and unfamiliar territory, suggesting a more interesting future than listeners might have imagined.

Remain in Light comes bursting out of the gates in a rollicking, irresistible wave of musical joy that only stops when the album is over, leaving the listener in a state of blessed disbelief.

While this would be a step backward for anyone else, the band has a talent for effortlessly making the unpolished seem charming as it bashes its way through tracks like "Nostalgia" and "The Worst Has Yet to Come."

Even with years between albums and the tragic loss of a key contributor, the band's sounds are more locked in, realized, and focused on the same relentless track than ever.

Playful, fun, and steamy, Afternooners is another remarkable collection of obscure heat from the visionary artist.

Intimate, theatrical, and strange, House of Sugar is designed to reward repeat listens, but like other (Sandy) Alex G sets, it's above all affecting.

But Here We Are keeps its focus on human connection, a distinction that separates it from other Foo Fighters albums.

Listening to Bird Machine is a heartbreaking, uplifting experience -- in other words, a perfect tribute to the way he moved so many people.

50 Song Memoir is a rare example of Stephin Merritt offering a look into his offstage life, but just as importantly it's a reminder of why he's a truly great songwriter, and this ranks with his finest work.

The trip is well worth completing despite Sanders' early exit.

Heaven and Earth is more a refinement of the ideas expressed on The Epic than an entirely new paradigm. There is less wandering, more focus, more inquiry and directed movement, as well as an abundance of colorful tonal and harmonic contrasts.

It's not as immediate as previous Deerhunter albums, but Halcyon Digest has an appeal all its own: It's as difficult to grasp - and as hard to shake - as a memory lingering at the back of your brain.

A pair of mellower tracks near the end, the dembow-inspired "All My Friends Know" and the lush, string-laden "Nineteen," are more restrained yet just as considered and affectionate, pointing to a potential direction for an artist whose emergence was one of the most welcome left-field surprises of 2021.

Tense, thrilling, and a bit frightening, Dark Energy is simply one of the most compelling debut albums of 2015.

Dissociation is an impressive album and a perfect endpoint to a very noisy and varied body of work.

Exodus of Venus is an achievement both redemptive and transformative.

There are many layers in Miss Colombia's 11 vivid tracks, all of which are well-worth exploring.

Yorkston has couched his thoughtful, insightful songs in many musical forms, all of them quite successful. His teamwork with the Second Hand Orchestra, and especially with Persson, results in some of the most beautiful and moving music he's made, which is high praise indeed.

This time, the one flaw may simply be that the group doesn't know when to say when.

Fans of Gelb's have to be excited about this because it's perfect, a career high.

Even when the album drifts toward the traditional--as it does on "Hurtin' (On the Bottle)" or "Four Years of Chances"--Price's sensibility is modern, turning these old-fashioned tales of heartbreak, love, loss, and perseverance into something fresh and affecting.

In its own less-alien way, Luxury Problems is just as brilliant as what preceded it.