Watching Movies is Miller’s most enduring, and endearing, project yet.

The Light the Dead See is an album you listen to late at night, possibly in the dark, and absolutely alone.

Streton definitely has the production chops to make a solid record. However, if he wants a great record, he needs to edit down that tracklist and sequence it for cohesion.

Honestly, Nevermind isn’t a bad album, but it is disappointing.

Cage the Elephant sound bigger and more polished here, but it’s Shultz’s lyrics that have grown up the most.

An Object, as a conceptual aesthetic project, borders on brilliant. Yet the music itself is not immediately captivating.

Glad All Over largely succeeds because it never devolves into simply getting the old band back together.

The pairing, and subsequent output, of Weber and the Bell Laboratory is expected and mundane.

Lines is a sculpted spring album, still chilly in certain ways, but hinting at the sun-burned revelries of months to come.

Honor is a healthy step back in the right direction, but there’s also no chance of it blossoming into a late-career classic.

Some of the harshness seems a little forced.

Ultimately, though, he [Edwin Congreave] knew exactly what his audience would enjoy, and he delivered accordingly.

This album release coincides with the aforementioned documentary, and as the details of Lovato’s rocky recovery continue to unfurl, there’s a bit of concern in the idea that this record is a bit too intrinsically tied to another very public narrative. She tells us, over and over within the album, that this devastating chapter of her life is over and gone. In the aching, tender closer, she sings that she’s in a “good place” in a track of the same name. I desperately want to believe her.

Beach Music feels like the work of an artist a few steps ahead of his audience, jumping to answer their expectations of a DIY darling taking on the trappings of a label.

While this record won’t reel in many new listeners, it’s a worthy and worthwhile addition to the band’s discography, full of catchy grooves that continue to defy expectations.

There are moments when it feels admirable in its scope and ambition, but ultimately, the pure intentions get lost in the noise.

Emotion is the string connecting the album's 13 songs, which don't quite feel cohesive but never fail to surprise.

Though this record may represent a simple dusting off for Verse, a confident move towards a legitimately more mature sound would have been a more fitting return than the androgyny between past and future found on Bitter Clarity.

On Magik Markers’ latest, Surrender to the Fantasy, the rough edges are further sanded down, the songs revealing interest in a diverse set of genre signposts.

Marauder is still Interpol, and it’s still pretty good. It’s got mood and emotion for days. But because the album is marred by nonexistent bass lines and, most concerningly, production and mixing choices that run completely at odds with Interpol’s natural strengths and most beloved idiosyncrasies, it’s nowhere near great.

While Karlsson and Winnberg continue to assert themselves as two of the most accomplished producers in contemporary music, Happy to You does well to prove they're just as good on the other side of the mixing console, showcasing the furthest extents of their own considerable talents for the second straight album.

Shana Cleveland joins an ever-expanding roster in the folk resurgence of the past several years alongside artists like Angel Olsen and Sharon Van Etten. But before she can match the most recent works of those two artists, she’ll need to work on differentiating her songs.

It’s a reset of the odometer rather than a definitive statement of destination.

Long-time fans who have a completist urge will find owning these tracks in one stylish package to be a necessity (the vinyl’s “silver foil jacket with incredible tritone all-original artwork” looks dope), while new listeners will get a good survey of the diverse songwriting and groove-heavy garage/psych rock of Thee Oh Sees.

Neuroplasticity, at times, makes Spx sound out of place on her own record.

Everyday Life mixes the magic of “old” Coldplay with their smash hits that have kept them at the top for so long. And it works.

If Lion--easily one of Murphy’s most solid solo releases--was made in less than a week, imagine what time and planning could accomplish.

These songs keep the gruffness that marked Rose’s early bands but opt for clearer dynamics.