Not everything needs to be emoted so hard, not every line requires an instrumental ta-dah! Try a little simplicity next time. It makes the big swells all the more impressive.

With songs as downcast and despondent as “False From True,” “Worthy” and the title track, the steady ache doesn’t abide all that quickly. That said, Trouble & Love does find some cause to break the stranglehold of sadness and despair.

You're not going to learn much in this hot tub, or perhaps remember much about it afterwards, but come on in, the water's fine.

Hoop’s experimental tack often requires repeated listens, but it’s creativity and not mere quirkiness that ultimately leaves alingering afterglow.

Modestly presented but appropriately self-confident in its dedication to craft, Hendra is a low-key but sturdy delight.

Long Slow Dance is a schizophrenic album, at times frustratingly so.

Though the band seems to have packed all of its musical interests and abilities into the album’s 11 songs, this is a most likely only a sampling of their capabilities and of the colorful ideas yet to spring from the mind of Jocie Adams.

Non-converts won’t miss anything, but psych rock fans will eat this up and belch happily.

This is almost background music (think synth meets krautrock meets disco meets industrial), music to wash the dishes to or fold clothes or, simply music to dance to (that is probably what the band wants) and in that sense it is perfect for a darkened club where the only thing to do is dance (no drinking or fucking allowed).

The result is slightly uneven, but ultimately has some fantastic songs on it.

They still sound as brilliantly odd as their seminal self-titled debut.

He sounds more at home and natural on these [jazz] songs than on the country music for which he’s most celebrated, making Let’s Face the Music and Dance one of the most effortlessly enjoyable records in his large catalog.

Newcomers may not find Similar Skin the ideal place to begin, but longtime admirers will probably swoon in awe.

Sisyphus is ultimately as off the wall a release as you’ll likely encounter this year.

After the third track “Christine” floats past like a lost Julee Cruise track on soulful blues guitar and vintage 50s’ keys, the LP takes a surprising but effective turn into heavy, murky territory.

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.

Future Standards feels a little too respectful, well-done but static and without much animating fire.

Love Is Love isn’t clear cut, reading at times like the various stages of grief.

One interesting thing about Ty Rex is how Segall nicely balances the more familiar glam/Seventies side of Bolan with the early folky-faerie side that characterized his Sixties output.

The songwriting doesn’t quite match the ambitions here, and that gives the LP a transitory feel--that, too, may be fitting, given Huebert’s long season.

The album is a good beginning for Will Toledo and crew one on which they’ll hopefully build upon. Some of the tracks though seem too reek of an “indier” than thou attitude that’s best left at the door.

Elvis at Stax, discreetly packaged, replete with complete credits for musicians, singers, and studio personnel, and excellent (if fawning) Robert Gordon liner notes, is a nice corrective.

Whether the new album will get them anywhere close to the mainstream remains to be seen. Most likely it won’t, but that doesn’t mean we can’t root for them all the same.

ild Animals may be an exaggerated description, but their willingness to explore other environs still ensures ongoing interest.

The well crafted moments within Our Love outshines the weaker numbers and makes the album a fun and danceable listen.

Love ‘em or loathe ‘em, they provide the clearest picture of what Gira and Swans are trying to do.

It’s been an odd and unpredictable mix at times, but Mould’s always made a point of indulging his interest with passion and integrity.

On the album’s second half, Foster and her producer/bassist Meshell Ndegeocello steer more towards a softer sound (“Learning To Fly,” “New”) that glosses over some of Foster’s grit. Still highlights are easy to find.