Though occasionally confounding, it inevitably turns out to be time well spent.

Majestically sad (“Almost Home,” “Saints”), soulfully sad (“A Case For Shame”), atmospherically sad (“Going Wrong”), trip hop sad (“The Last Day,” “Tell Me”), Northern soul sad (“Don’t Love Me”) are all interesting but often too subtle variations that almost make you want to force feed him Zoloft at times.

This is more, almost more than you can take, and it’s better than less any day.

Sunlight on the Moon is utterly pleasant, slightly off-kilter and melodically memorable, but if you listen to it hard enough, it’s also a bit disturbing.

Deer Tick’s fifth and latest offering is a tad darker and surprisingly personal compared to earlier efforts. The result is ultimately a stronger album, but it takes a little time to get to the good stuff.

Devour is a completely impressive collection from start to finish.

With twenty tracks and plenty of impromptu circumstance, it may not offer the same potential for pure appreciation that a standard anthology of studio tracks might provide. Nevertheless, there’s an adventurous spirit contained herein, and The Chills show they’re adept at heating things up as necessary.

The Canadian chanteuse offers up a series of deceptively delicate entreaties that quickly give way to the sort of emphatic rhythms and boisterous melodies that reflect an unmistakably bold confidence.

The Avett Brothers have established a singular style. And with it, a well-deserved reputation that assures their place among the best of the breed.

No Age has made an album devoid of joy, yet I couldn’t help but smile when listening to it.

It would seem as if she’s making music from a disengaged point of view.

Intended as the follow-up to Griffin’s sophomore set Flaming Red, Silver Bell finds a young artist still determining her direction. Griffin’s furtive vocals dominate the album overall, but the settings shift dramatically throughout.

From the opening cut of “Earthen Gate” the songs nudge, heave, shove and then finally bulldoze their way to your hearts.

Despite those candid confessions, Arrows never bows to Scattergood’s self-indulgence, given the swooning synths and other cosmic confections.

Somewhere along the line, this became an amazing band, and songwriting/arranging this masterful elevates Blur The Line to modern-classic status, fully justifying the 5-star rating applied at the top of this review.

Unison chants (“Kaani”) and stray bursts of percussion (“Nouvel”) punctuate the multi-lingual songs, but the dominant timbre is a delicious, delirious clang.

Pushin’ Against A Stone is an impressive calling card to the rest of the world that this, until now, under heralded artist is both an adept student of American folk music traditions and a modern day practitioner with perhaps preternatural talents.

The compelling 46-minute result shape-shifts with graceful ease, never losing touch with its pop song aesthetic.

It’s a balance of brainy introspection and communal joy--hard to do but easy to listen to.

Ambitious and inviting, Siberia puts Polvo in a more accessible place while remaining faithful to its artistic vision.

This is the kind of show that often carries a “had to be there” air, especially given the heavy participation of the crowd and the freewheeling nature of the performance. But Chilton’s charm and talent make Electricity By Candlelight wear surprisingly well.

Happily, The Ghost of the Mountain succeeds in every respect, an album that sounds like the product of a group rather than simply a collaboration between like-minded associates.

Nature Noir feels like it’s got a bit more substance and structure, a natural foundation under the otherworldly sheen.

So while songs such as “Beautiful Dream,” “Run” and “Gloria” may be anchored with a touch of techno, there’s also plenty of sparkle and substance to keep most folks satisfied.

This debut from Dangerkids is ambitious only in the fact that there is so much wrong with this record.

The EP is the perfect cherry on that sweet cake that is Light Up Gold.

You can’t help but feel a little let down that they didn’t experiment a bit more on this one.

To be sure, Blitzen Trapper can be commended for breaking down the boundaries between roots and rhythm, even though they may alienate those more accustomed to the tried and true.