As the creator and master of his own distinctive palette, he delivers another nuanced and well-crafted album.

It's a wonderful document of an unparalleled artist still radiating creativity, thoughtfulness, and power well into her late seventies. Like most everything else Mitchell has touched in her storied career, At Newport is inspiring, moving, and manages to also be a lot of fun.

Throughout, these ghostly and propulsive rhythms communicate, divide, and commingle, and are woven through with deep dub effects, avant-jazz, global pop, hip-hop, and woven rhythms drawn from several global traditions spindled, reshaped, and presented anew by the creators.

Tuttle and company have released another assured collection of songs that pair virtuosic musicianship with relatable and erudite songwriting.

Days in the Desert is a spiraling, hallucinatory experience, blurring the boundaries between studio-crafted ambient soundscapes and an engaging live jam.

While not among her more tuneful material, A New Reality Mind is a detail-oriented work that engages with its balance of sonic inventiveness and pop reference points. Lyrically, it may also connect with its steady stream of readjusted expectations.

It's a style that evokes the breezy, early '90s rock of artists like Sheryl Crow and Bonnie Raitt, yet still retains all of the ringing melodicism of Best Coast. She also trades some of her cool girl swagger for a refreshing vulnerability and open heartedness.

Nobody expects him to go back in time and deliver another classic album like Too-Rye-Ay, but it doesn't seem too much to ask for him to make a record that has more zip than this. That being said, it's always good to get another transmission from the heart and soul of Kevin Rowland, even one lacking the sweat and excitement he usually delivers.

It adds up to another pitch perfect album by the band, certainly one of their best and most devastatingly pretty works. In a career full of brilliance, that's saying ever so much.

While Lanza has never come across as diffident, she is at her most poised and direct on Love Hallucination, another serving of bubbly avant-pop only she could have made.

The Ones Ahead gets too saccharine at times, and it's not anywhere near as engaging as Glenn-Copeland's visionary folk-jazz records from the early '70s, or his soothing ambient classic Keyboard Fantasies. Nevertheless, it's impossible to find fault with his optimism, and the songs' messages clearly resonate.

While the majority of the album is breezy and unassuming, the radio-ready pop detailing of "Mona Lisa" cuts through a little more than most, with manicured hooks and sonic sweetening that feel tailored for commercial blockbuster status.

The result is Georgia's most accessible album to date, although it does feel like some of the unique qualities of her earlier releases have been compromised.

Guided by Voices has never had so long a streak of consistently fine albums as they've had since this edition came to be, and Welshpool Frillies shows this band (and their indefatigable leader) aren't about to let us down now.

DeMent's acute sense of humanity remains her greatest asset, and it has rarely sounded so graceful as on this wonderful set of songs.

Sakamoto died two months after 12 was released, and being aware that it was his final work adds emotional weight to music that appears fragile and delicate.

You & I is a nourishing, adult examination of love and relationships that matures the singer and her catalog in the process.

Less serious-feeling moments like "Zombie World" and "This Isn't Funny" call back to the juvenile spirit of early Half Japanese, but the majority of Jump into Love finds Fair and his band communicating messages of joy and promise with strangely heavy tunes that don't quite sonically match their optimistic sentiments.

IRL doesn't truly feel like a return or even a follow-up. Still, she immediately set this album apart from Love and Compromise by previewing it with the fluid and bumping "Terms and Conditions," a shrewd collaboration with RAYE that is unequivocal about its "rules in place" for a potential lover.

Clarke's songs are founded in seductive pop melodies with a rootsy undertow, and he, his studio band, and his production team have crafted an album that comes from the heart and emotionally connects with rare skill, in both music and lyrics. Having a down day? Cut Worms may be just what you need.

Lofgren doesn't shy away from big emotions -- one song, "Nothin's Easy," is explicitly dedicated to his wife Amy, who also serves as the album's co-producer, yet many of the other tracks feel informed by their relationship -- and that open-heartedness is the key to the album's success: it enlivens the studio precision and gloss, giving it a warm human pulse.

An album that feels age-appropriate without being stodgy: it's mature and nuanced, cherishing the connections that once were taken for granted but now seem precious.

He may be able to capture the sound of a band playing in a room but in this case, it feels like the room is a rehearsal studio, with the band stuck playing rough drafts at maximum volume. A bit of tightening and a bit of polish would've gone a long way here.

Some of Uzi's experiments are fun and exploratory while others flop, and the entire album is a lot to digest in one go. There are still plenty of solid tracks regardless of what style Lil Uzi Vert is trying on, but more fastidious editing might have delivered a more enjoyable, less meandering overall listening experience.

Super Snooper puts enough of a fresh spin on the standard tropes of punk to make this exciting, without sacrificing the satisfying energy at the core of the sound. As a first major salvo from a band on the rise, this is highly promising and a lot of good, noisy fun.

Rajan might not quite reach the top rank of modern psych albums -- "Nightmare" hews a little too closely to blues clichés and the occasional bit of editing could have been done when the tracks started to drift too much -- but Blackwell has made a strong and never less than interesting step in that direction. Even if he swings back to the more well-known Night Beats formula, this will stand as a fun experiment at the very least.

Despite the understated and lo-fi nature of the recording, Evenings at the Village Gate is a testament to their profound artistry and creative synergy.

At its most passable, COI is an engaging play with enough highlights to pack a playlist and keep the party moving.

This understated makeover casts Speak Now not as the final Taylor country record but as the first pop album from the singer/songwriter, a revision that offers its own gentle revisions.

Toil and Trouble's themes of trauma, denial, and redemption bear some of the hallmarks of Terry Gilliam's 1991 fantasy-drama The Fisher King, as much like Robin Williams' homeless knight errant, it's both meditative and mad.

Altogether, Evergreen is a masterfully executed maturation that launches Gunnulfsen forward into fresh, fearless territory.

Also rife with a bubbly, '70s funk groove is "Coconuts," whose cheeky, double entendre lyrics not only celebrate Petras' Queer identity, but speak to the playfully flirty, tongue-in-cheek atmosphere she achieves throughout Feed the Beast.

Despite Clarkson's rousing performances and optimistic outlook, Chemistry feels cloistered and secluded, lacking pathways into its inner sanctuaries.

Stitched together with old, seemingly unfinished material dusted off and sometimes freshened up in some fashion, varying wildly in subject matter, and therefore doesn't come across as a true follow-up to 2021's Punk.

The singer confesses to being "a neurotic mess" in the opening "Amöban," and there's sorrow in the purposefully ragged "Kenneth," but letting go, living it up, and delighting in overindulgence win out thematically across the album. The best of the lot might be "Frisco," a discreet declaration of liberation that with equal ease could be transformed into an acoustic jazz ballad or a storming house anthem.

There isn't an overriding theme on Sticks and Stones, nor is it nearly as ambitious as previous POTR records, yet that's its considerable charm: it's lean, loose and funny, the kind of record that provides a soundtrack any kind of good time.

It's a keen and catchy, often poetic, always emotionally honest outing that raises the bar on the project's already well-established strengths.

Wispy, strings-and-chimes-enhanced indie popper "All Over" is contrasted stylistically by the pop slickness of "Climbing Trees," which is replete with synth shimmer and vocal processing. Throughout, however, punchy hooks and melodic "whoa-ohs" accompany lyrics delivered with an ever-present frown and the suggestion that the title Supermodels was chosen to evoke alienation.

Oddisee is a pro at boiling a whirlwind of thoughts and emotions down to concise, relatable songs, and To What End contains some of his most deeply personal work to date.

A Trip to Bolgatanga gets as sunny and upbeat as African Head Charge's live performances or their more polished studio efforts from the mid-'90s, but it maintains the spirit of experimentation and love of speaker-crushing bass they've had since the beginning.

As Lifeguard's first major salvo, Crowd Can Talk/Dressed in Trenches is a superb statement of purpose and demonstration of strength, and anyone who still believes in the possibilities of the electric guitar needs it in their life.

Context and a bold lack of featured artists lend a sense of solitary unease that differentiates these exploits from those recounted in his earlier output.

Even in these more saccharine moments, however, it's hard to dismiss the album's optimistic spirit. With Rain Before Seven..., Penguin Cafe acknowledge grief and loss but prefer to express joy and positivity.

It's moments like this, the staticky intro to "Lightning Comes Up from the Ground," and the distant thunder-like, well-spaced drum strikes of "Conversation Is a Flowstate" that elevate what are already lovely songs to something that feels transformative.

A powerful return, My Back Was a Bridge for You to Cross reaffirms that Anohni & the Johnsons' ability to confront the hardest issues and moments is as eloquent and relevant as ever.

A triumph in its own right, I Inside the Old Year Dying's lively exploration is also a rekindling of something vital in Harvey's art in general. Though its whispers and shadows may not reveal everything, they're more than enough for a fascinating listening experience.

JID018 is an absolutely simmering set, with one of Afrobeat's creators showing us how it's done once again.

Where Mr. Money with the Vibe charted his rise, Work of Art firmly cements Asake's place as a Nigerian star with global appeal.

Hunger for a Way Out was such a strikingly rough diamond that Good Living Is Coming for You couldn't have the same element of surprise, but the refinements Sweeping Promises have made only reinforce how consistent and distinctive their music is -- and how much more it has to offer.

The overpowering guitars and relentlessly complex song structures that make up the majority of the album feel more like the sounds Hanson makes with Wand than something unique to his solo iteration, but he shares some new windows into his wonderfully mystifying psyche all the same.

Though Michael can get overbearing at times, the production is generally stellar, and it's easily the rapper's most honest and emotional work.

It's a well-crafted and often moving album that mixes a bit of Cat Stevens' sound with Yusuf's heart and soul, and it honors both with skill and sincerity.

More dynamic and sonically defined than Divide and Dissolve's earlier albums, Systemic is easily their most successful work thus far.

Like a folky, more rough-hewn Blossom Dearie, Sternberg's quavering voice will not please everyone and their musical palette is delightfully out of step with the times, but their candor and warmth of character are universal.

Stories From a Rock 'n' Roll Heart isn't the triumphant return some might have hoped for, but for its flaws, it shows Williams hasn't lost her spark or her determination to create, and this may not be a great album, but it suggests she has it in her to make another great one somewhere down the line. Here's hoping.

Producer Brian Fox has given the recordings an unobtrusive clarity and warmth that flatters the material, and overall Let There Be Music pushes Bonny Doon and their music forward without forcing them out of their comfort zone. Imagine what might happen if they started drinking coffee.

This is to say that Dream from the Deep Well isn't unvaried or austere, but it is remarkably timeless-feeling as well as soft-spoken -- if only in terms of volume.

The group still seem like they're working towards achieving a distinctive sound, and it feels like they haven't fully figured out how to integrate some of their more recent influences into their music. Still, the band is consistently inventive, the production is generally fantastic, and the album has several strong moments.

With the band's help, they've captured a mood on Can We Do Tomorrow Another Day? that's peaceful, easy, and a treat to dip back into whenever the stress of the day-to-day threatens to overwhelm.

Taken as a whole, Blowout is Kirby's most adventurous record as well as his most accessible, thanks to hip arrangements, imaginative compositions, and focused, expert musicianship.

Exorcist is Birchwood's tightest, most adventurous set to date in his quest to create a contemporary context for the reinvention of American blues.

So much of Russell's work contained a playful curiosity, but that sweet character never felt so apparent as it did with the delicate intensity of World of Echo. Picture of Bunny Rabbit's continuance of that pure spirit is a gift to anyone with a special place in their heart for Russell, and even more evidence of just how peerless he was an artist.

Black Duck's sprawling improv and cosmic Americana is the product of three experienced musicians deeply in tune with one another, eager to travel anywhere the spirit takes them.

Stinson's rumpled charm and casual touch make Wronger sound tossed off in the best sense: it's light and intimate, the kind of record two old friends make when they just want to relax and enjoy each other's company.

Anyone who enjoyed The Dirty South as it appeared in 2004 will find The Complete Dirty South rewarding, and those who haven't heard it owe it to themselves to hear it in uncompromised form.

Yay! is not actually retro, nor less lyrically provocative or musically adventurous. It is, simply, the latest necessary creative gambit from these sonic psychonauts.

All Her Plans isn't an album for folks looking for a playful, pop-punk experience, but it's a brave, powerful record that's a reminder of how much punk rock can communicate with so few moving parts.

I Only See the Moon's more diversified approach is an engaging one that, frankly, evades the potential slog of some of the Kids' prior LPs without surrendering heartache, nostalgia, or slow tempos and grace in the process.

On Pain is overall both an exciting artistic achievement and a record that should fit the bill for anyone looking for a very cold and sad synth pop update.

Though Melodies on Hiatus' experiments sacrifice some of the single-minded purpose of Hammond's previous albums, it delivers a bumper crop of songs that embrace the complexities of life and music with a sense of adventure.

Mellencamp's blend of sinewy rhythms and burnished acoustics is recognizably his, yet it draws upon a sound that's now part of a shared past. It's a sound that's aged well, and Mellencamp has aged within it.

Eight is energetic, inspired, and hits with one melodic hook after another, capturing the sound of a band overjoyed to be back and having the time of their lives.

The pair has assembled this durable catalog almost without interruption, reliably delivering singles, albums, remixes, and EPs almost annually since their debut. Work ethic and quality don't always go hand in hand, but Pet Shop Boys have both in spades.

One of Metheny's aesthetic signatures is an often euphoric character in his composing and playing. While that's absent here, emotion, vulnerability, and poignancy aren't.

Avenged Sevenfold go further down the rabbit hole with an innovative set of progressive metal epics rooted in existential crisis.

Bright New Disease has some jarring sonic clashes, but both bands seem to be on the same wavelength in terms of their modes of cathartic expression and their disregard for stylistic boundaries.

A definite improvement over leaving meaning, The Beggar is a riskier yet more successful effort that feels like a step in a more fulfilling direction.

A record that's as catchy as it is emotionally overpowering.

Peace...Like a River is a labyrinthine trek through original songs that nod at the band's classic rock influences, creating an album that sounds like it was written and recorded during the 1970s.

At once more serious and more playful than Mr. Dynamite, Yawning Abyss homes in on what Creep Show do best, and the ways they skewer corruption and indifference are a treat for fans of any of the artists involved and for anyone else who enjoys eloquent, darkly humorous electronic pop.

Taken together, the album is an engaging and rousing affair with more than enough down-to-earth awareness and poignancy to keep it grounded.

Ticket to Fame's balancing act between jumbled weirdness, edgy pop, and occasional respites of synthy atmospheres is a fantastic introduction to Decisive Pink's insular and contorted but often magical take on pop.

While the thick, churning grind may feel familiar, it never seems staid, not when QOTSA rely on clouds of vocal harmonies to push them onto a psychedelic astral plane, a shift that can amount to the subtle colorings of "Time & Place" or be as startling as the chorus of "Emotion Sickness."

The stricter members of the metal community might see King Gizzard as interlopers with no real metal cred, but after Rats Nest and now this thrillingly massive album, there's no reason the band shouldn't be considered one of the best practitioners of the genre around.

Its structure of pop songs threaded together with interview clips makes it feel a bit more essay-ish than the debut, which was named after a phrase Jayda often used in her final thesis. That said, Jayda does a magnificent job connecting deeply personal stories with accessible music.

Even though it was created by enough people to fill a starship, including the HawtPlates, a vocal group heard throughout and granted the spotlight on a moving a cappella piece, this is as intimate as any of Ndegeocello's previous albums. It's almost as varied as any of them in sound.

Rarely does a double album (or a quadruple EP?) sound so revitalizing, but Django Django somehow pull it off on their best release in years.

Social Lubrication is the work of a band that believes music can actually make a difference, and in Dream Wife's hands, it's a feeling that's contagious.

By and large, Heaven Is a Junkyard finds Powers in pastoral mode. Even in its most orchestrated moments, the album feels primarily reflective and still, like Powers is gazing out on a silent field of wheat and offering us a look into his brain as the thoughts, memories, and scattered hopes all float by.

He continues to process trauma, grief, and guilt, with tracks like "Pelle Coat" and the J. Cole-featuring "All My Life" being some of his more emotional material to date.

Tracks like "Wishing You the Best," "Pointless," and the unexpectedly clubby "Forget Me" are soundtrack-ready anthems that nicely showcase Capaldi's throaty croon.

Like all Tinariwen releases, Amatssou is compelling and strange. They are a musical entity like no other, translating the essence of their culture through creative exploration and complementary collaborations, yet always attuned to their inner compass.

The result is surprising and singular, revealing new twists in songs that seemed to be set in stone decades ago.

This LP is a triumph, an outstanding set of songs and performances from someone who has already proved they're one of the strongest, truest voices in American roots rock.

While observing the spaces between, Marshall's songs, reflective, consumptive, instructive and compelling, simultaneously create and destroy spaces between worlds he observes, so he might remake the world he lives in with restaint, grace, a broken heart, and brutal honesty.

Though Chris fully commits to Paranoïa, Angels, True Love's sweeping scope, as a whole it doesn't feel as rewarding as the diamond-like clarity and brilliance of Chris or La Vita Nuova. Even if it's missing some of the electrifying immediacy of those works, there's a lot of challenging and emotionally powerful music here for fans to appreciate.

Mostly, it means that Joy'All hums to a rhythm that's happy, if not quite beatific: Lewis bears her sorrows and scars proudly, which makes the sepia-toned positivity of the album feel earned.

All of this adds up to another well-made record that evolved from Squid's origins.