Funeral for Justice finds the band flying high while creating songs they believe passionately in, resulting in the strongest album of Mdou Moctar’s career.

We have two different records. Disc One blurs genres, while impassioned jazz rules Disc Two. As for dancing in the literal sense, those moments come infrequently in this massive (Kamasi knows no other way) project.

The Lemon Twigs creates a meditative bliss on A Dream Is All We Know. Whether they’re making pop tunes that evoke the serenity of cherry blossom trees or bluesy rock that fills the room with heavy riffs, this project has a specific calmness that found a home in Beatles-inspired pop.

Crockett has a potpourri of songs here, from the relatively simple country ditties, to arresting narratives, to those filled with symbolism that demand multiple listens. He remains squarely in the front row of today’s best writers.

Moving in a lot of directions, That Delicious Vice proves that Kid Congo & The Pink Monkey Birds are willing to experiment with sound and scope to deliver their tunes, even if not all their outings are successful.

The first half of the Wiggle Your Fingers is fine if not particularly notable, but things improve significantly on the back half.

Over the course of more than a dozen records, the Old 97’s have experimented a bit and tempered their sound from time to time, but American Primitive is a return to their Clash meets Cash roots.

For all the celebrated figures accompanying him, Ian makes Fiction his show, one that’s as (thankfully) understated as it is penetrating.

Every tune here would be a candidate for a film score, much of the moody and dramatic material conducive to Hitchcock. .... The Umbria Jazz Orchestra, with its blend of brass and woodwinds versus the heavy string emphasis of the Brussels Philharmonic, adds completely different sonic textures. Ringing guitar notes reverberate and echo with more authority as the ensemble extends them. The blending sounds are captivating, and Frisell’s trio mates also seem more at the forefront.

Simple on the surface, basically a country blues effort, the album has a sneaky quality. It will grow on you after a few listens.

Tarantula Heart is messier than most Melvins albums, and it doesn’t have as many great hooks as fans are used to. While it doesn’t hold up to the band’s best albums, there’s plenty to enjoy for those who like the band’s quirkier side.

Sun Without The Heat is an engaging musical journey through Leyla McCalla and her band’s vast influences as the impressive artist keeps crafting engaging music for the body and mind.

On Up On Gravity Hill, METZ” sound evolves as the trio explores new sonic pastures while keeping their core intact.

Pernice, rightfully lauded for his classic pop songwriting and arrangements, has been compared to Burt Bacharach over the years. You can hear that influence in songs like “What We Had” and “December In Her Eyes,” two tracks that sound a bit dated and out of place on an otherwise great return for Pernice and his band.

Those dulcet tones of Knopfler’s voice remain immaculately intact. Now 74, every aspect of his artistry remains at its consistently high quality. As with the past few releases, Knopfler waxes mostly nostalgic here again on One Deep River.

His major shift in styles may not be for all of King’s fans, but it is hard to find much fault in his new, raw, soul-drenched efforts, as King clearly has struck a rich vein when it comes to his songwriting and recording style on Mood Swings.

The eight tracks produced by Tucker Martine (Sufjan Stevens, The Decemberists, My Morning Jacket) in Portland, OR include some music that, while it is legitimately based on a formidable tradition, nonetheless doesn’t sound quite so personal or powerful as the best Parr performs elsewhere here (or on the pinnacles of his past like his eponymous album of 2019). .... Fortunately, the moody likes of “Bear Head Lake,” call to mind Charlie Parr at his most scintillating on 2017’s Dog.

With an impromptu air that belies how deeply the musicianship reverberates within, the cut ["Po Black Maddie"] ultimately turns as stirring as it is infectious, a description that might well apply to Hill Country Love as a whole.

The duo of Dan Auerbach and Patrick Carney have found that creative musical joy again, with the overarching feeling on the album being, fun.

By bringing things down to the basics, Khruangbin seemingly reinvented itself yet again without pushing too far into the future and looking too much at past success. The band is stubbornly present and takes its time creating a meditative album lined with moments of instrumental bliss and newfound territories for the band to explore.

Only God Was Above Us is more than another Vampire Weekend album, it is an amalgamation of their storied career and experiences wrapped up in a fearless take on what their genre can become.

Musically, songs like the rollicking “Dogbane” and the classic country vibe of “Stone Door,” find the Disarmers at their most adventurous taking risks that manage to pay off just about every time here. Revelations finds Shook and their band at their best across all 10 tracks.

The collective clarity of mind on cuts such as “Monaco” keeps them focused and to the point. And while both the musicianship and the material In songs such as “Last Frontier” sound distinctly of that time in the mid to late Nineties when Ride pioneered what is now described as ‘shoegaze music,” it’s also pertinent to that period when it took courage to leave the home even as it was psychically suffocating to stay inside. No question there is a tangible confidence suffusing Interplay.

The singer-songwriter’s twelfth studio album mostly sounds like 2000s-era Crow with some contemporary flourishes in the production. Crow’s diverse vocals are still solid, ranging from country twang to soulful croon and saccharine pop.

One could quibble that the album seems just a bit static in places with little change in Lloyd’s musings and the re-airing of several staples in his repertoire, but those quibblers should listen to the sheer ecstasy in “Monk’s Dance,” the album’s brightest moments.

The album is consistent on the surface but a deeper listen unveils blissful tunes that come alive via unpredictable sonic twists that get better with every listen.

Sam Evian created a potent LP with Plunge and keeps the album exciting by piecing together his lofty ideas and loosely tying them together via their unpredictable tendencies. By allowing even his loftiest visions to settle into his honed song craft he created a brand of pop music he can proudly call his own.

The sound quality is crystalline; remarkable considering how long this has been sitting in the vaults. The tone remains most serene for the first five and half minutes. .... The audience applauds after Jimmy Garrison’s bass solo thinking it’s over but the tenors and piano resume to take it out. This music is by contrast so ridiculously intense compared to the first half.

Tigers Blood album is yet another big step forward in her evolution from critic’s darling to one of the most dependably great indie artists performing today.

Glasgow Eyes takes the band’s experimental noise pop further. The expected elements are all there, from the brooding lyrics to the droning guitars to the intricate melodies. Still, incorporating electronic elements adds extra flavor for those who’ve already played Honey’s Dead a thousand times and don’t need another one.

The second segment begins with a solo lullaby “To The End of the Earth” followed by the warm trumpet tones of Keyon Harrold in the smooth, string-imbued R&B ballad, “Alone Together” with Clark Jr. singing falsetto. The empathetic mid-tempo funky shout-out for the homeless “What About the Children” features Stevie Wonder, sharing co-writing credits, singing with the leader, as well as playing his signature clavinet and harp. This is the album’s most cohesive segment. .... Take the album at its intentions. Clark Jr. is blurring the genres, as he strives to be an important voice of hope and positivity.

This album is still very much a Lenker solo project with minimal arrangements and honest songwriting but thanks to some fearlessness and a bit of patience, she can make Bright Future stand out from the rest of her solo work.

On Happiness Bastards the brothers Crowe retreat to their safer classic rock roots with efforts that gun for mid-70’s arena swagger, falling short of the band’s prime, a touch uninspired and derivative of their best work.

However much Julian stretches himself, however, he never abandons the warmth and fluidity that distinguishes his playing.

This is a vital and worthy addition to Jones’ diverse catalog, surely with the potential for her tenth Grammy win.

HOPIUMFORTHEMASSES, while not up to the band’s overall best (Psalm 69, Rio Grande Blood), is a very solid Ministry album during these insane times.

1 2 3 4 is the perfect companion to 2017’s underrated Take Me to the Trees and a record that continues to solidify the band’s relevance four decades into their career.

Their ambitious sophomore album establishes them as a timeless act, a group of artists hellbent on saying what they want to say and nothing more. They proved they deserve every bit of praise while glossing over it to create an album so chaotic and stunning, it already feels timeless.

El Viejo is a stunning character study of gamblers and loners moving from card game to card game, perfectly bridging modern Americana with the likes of Jerry Reed, Del McCoury and Marty Robbins with a Springsteen-like sense of storytelling in three-minute bursts.

The ever-evolving Joel Ross has taken a step back and forward at the same time. If this is your introduction to his gorgeous music, it’s an auspicious place to start that will likely lead to seeking out his previous work too.

Real Estate seamlessly ties in the esoteric with the relatable, landing on a short but powerful LP that simply asks you to question everything without demanding an immediate answer.

Throughout the nuanced Untame The Tiger, Mary Timony pushes and pulls with experimental wanderings and pop leanings, successfully delivering an engaging album that deals with grief, forlornness, and starting over with a blank slate.

Clearly, this is the crowning jewel of Hurray for the Riff Raff’s catalog, and surely their most honest, cathartic songwriting.

Compassion reveals one of today’s most fully rounded piano trios on their second foray, transportive music of the highest caliber.

Overall, it’s a great listen in the car or for a gathering of friends, but the lyrics and diversity of sound surpass previous efforts, offering a rewarding, focused listen.

Lytle has been here before, ending his main act, but if Blu Wav is indeed the final bow from Grandaddy, it is a solid, restrained offering and a fitting coda to their catalog.

Appropriately enough, fun and adventurous are two pretty apt descriptions of Hole In My Head, a stylistically elastic record that covers folk, pop and rock all filtered through the experiences of a lifelong punk rocker.

Sonic Youth is criminally underrated and fans of adventurous, guitar-driven rock will find tons to like from their wide-ranging, rich career. Walls Have Ears is just an early drop in the sonic bucket.

TANGK is an artsy outing that is polished and honed while refusing to stay complacent and neat, their range as a band now seems limitless as IDLES release the riskiest and most rewarding music of their career.

Weird Faith is a stunning amalgamation of experiences and how a new relationship can contain just as much confusion as it does happiness. For 12 powerful tracks, Diaz navigates beautifully structured arrangements while keeping her head on a swivel, making sure everything isn’t falling apart. Weird Faith needed to be good and Diaz did more than make a good album, she penned an opus.

Attempting to unpack She Reaches Out in one listen is a futile task. This sounds like the album Wolfe was always meant to make. Nothing feels forced, a natural chaos erupts around every corner as Wolfe tip-toes around dense drums and distorted tones. Underneath the dark production are some of the best songwriting moments of Wolfe’s career.

The album’s blend of thoughtful lyricism, nostalgic influences, and contemporary relevance makes it a compelling addition to the indie pop landscape in 2024. Whether you’re seeking introspective reflections or simply looking for tunes to enjoy, Harm’s Way offers a nuanced and immersive listening experience.

This release has cemented Howard as a must-hear artist as the wonderful sonic collage, soaring vocals, and insightful lyrics all come together winningly.

The Last Dinner Party was able to craft an LP that combines their wide range of influences and filters them through their own artistic lens. This birthed an album that both rocks hard and emphasizes what pop song structures can become when placed in the right hands. We will all remember where we were when we first heard Prelude to Ecstasy, an album that is seemingly just the start for an innovative and daring young act.

Ultimately much of the charm of Peculiar, Missouri was in its stripped-down, consistent sound. In contrast, Critterland is certainly not consistent. Rather, it’s a disparate collection of ambitious, oddball tracks that sometimes grab you instantly and sometimes take a while to sink in, but ultimately make for a compelling listen.

Despite being recorded in such a short burst of time – or maybe because of it – Spiel manages to be as musically diverse as it is moody, offering up a stellar intro to the band.

You don’t need to be a Ty Segall fan to appreciate the magic of Three Bells, the artist has transcended any persona attached to him to pen some of his best music to date.

Sadness Sets Me Free is a bold direction for Gruff Rhys to take 25 albums in, and for the most part, these risks paid off tremendously. Rhys finds solace in the exploration of himself rather than crafting the perfect LP, giving the album a unique personality that opts for honesty over anything else.

This album is not easy to digest and that is a good thing. It is a cinematic experience that requires multiple listens to truly understand the nuances of ILION.

There is no doubt that Little Rope is much more successful than those recent efforts [2019's The Center Won't Hold and 2021's Path of Wellness], but it never fully pushes the artists in new directions or completely recaptures the group's immense past magic. That said, as an outlet for one of the best duos to deal with smothering grief and loss, it is a blessing that it exists at all.

Cudi’s ninth outing features the crooning of his first few releases while harkening back even further to his mixtape days with razor-sharp flows. INSANO is effortlessly fun and enticing while still showing Cudi’s artistic progression.

He [producer Andrew Wells] manages to magnify an already impressive sound without weighing it down in over-production or slickness. The Vaccines have been a big deal back home, but Pick-Up Full of Pink Carnations could (and should) be the record that brings them that same type of recognition in the U.S.

Accompany is Nau’s best solo effort to date. The artist traverses twangy arrangements with his heart on his sleeve for a calming set of tracks. The unassuming nature of these songs emphasizes Nau’s songwriting prowess as he pens some of the best songs of his career.

Humility prevails in Before And After especially as it radiates through the ease of Young’s vocal delivery. The weathered quality his voice has acquired over the years only adds to the emotional authenticity, as does the simplicity of his harmonica playing and the vigorous strumming of acoustic guitar.

It is utterly mesmerizing that Gabriel can still find new and unique ways to present his art to the world and the double mixes of this album only add to the nuanced mystique of his approach. Dark-Side or Bright-Side, these 12 songs are full-body experiences with cascading melodies that pull you in every direction. i/o cements Gabriel as one of the most innovative and daring artists of his time.

Despite its historical importance in completing something of a missing link in the wide arc of Nobel Laureate’s career, The Complete Budokan 1978 is notably missing designation as an entry into the ongoing archive initiative known as The Bootleg Series. Consequently, this is one of those ever-so-rare Bob Dylan items to be taken almost strictly at face value and savored as such.

Yes, it’s as good as you’d imagine.

18 tracks of songwriting prowess set to dusty orchestrations that shake you to your core. For his first solo release in three years, Aesop Rock has never sounded hungrier as everything that makes him such a powerhouse rapper gets elevated and reimagined on what might be his best work in years.

Hadsel is a stunning set of songs that demand and deserve your undivided attention, put your phone to the side, finish your household chores, and allow Beirut’s latest to transport you to a meditative state.

The trend was fairly clear in coming, with each passing record Medford has shifted towards more mainstream sounds. Fully embracing the break-up/hook-up dance-ready pattern (with slight distortion around the edges) Medford’s efforts are ready to be sung out over large speaker stacks instead of smaller indie rock clubs.

“Closer I Get,” which features Oh, was co-written with Ivey and one that owes to the psychedelic trip. The sonics are less dense but the lyric is heavy. .... Act II: Mind Travel is mostly dark and perhaps most representative of the psilocybin effects. Analogies, metaphors and symbolism are rampant, albeit often subtle. .... Every trip, especially a six-day one like they took, has a distinct come down period. That’s the essence of Act III: Burn Whatever’s Left.

Be assured that Martin’s songs will grow on you. You may even take away a little more insight each time through.

In stark contrast is the self-indulgent hero worship of “The One And Only (Van Dyke Parks).” However well-intentioned, the track is too cute by half, but its juxtaposition with the “Back In New York (Electric Mix)” redeems the conclusion of The Great Escape as crisp electric guitar figures echo through the jaunty tone of the Modrec Horns.

Black Pumas created a daring and enticing sophomore album that not only surpasses expectations but makes us feel silly for having any to begin with. .... These ten songs do more than avoid a sophomore slump, they cement Black Pumas as a creative force willing to risk it all if it means their vision comes to fruition uncompromised.

The band takes full advantage of their unpredictable reputation to craft an ambitious piece of art packed with enough personality and sparkle for it to be considered an undeniably fantastic release.

Action Adventure is a tidal wave of dense textures that wash over the listener for a full-sensory rollercoaster ride through the restless creativity of DJ Shadow.

The Kills God Games is a step forward for the band, expanding their sound while retaining what makes them successful.

History Books is a layered outing from Gaslight Anthem that is as familiar as it is refreshing. Longtime Gaslight Anthem fans will be pleased with the varying arrangements as the band traverses a colorful palette of moods and tones. Newcomers will be taken aback by the band’s unique diversity and lyrical dexterity as Gaslight Anthem pens gorgeous words to drive their latest outing.

From a musical standpoint, it’s arguably overproduced in places, and the arc of the story settles into the same place in some of the two-three song sequences. Those quibbles aside, sonics usually match the thematic content which is stoked with bevies of provocative thought. Set aside the time to listen carefully; this is not casual stuff.

Auerbach and Finley stick closely to the format of Sharecropper’s Son – a mix of raw blues, gospel, soul, and funk. This one does feel a tad more personal and musically more on the swampy side, weighted that way by “Alligator Bait,” as memorable a story as you’ll hear, where Finley’s anger seeps through convincingly.

Ozarker finds Nash tapping into an entirely different genre for inspiration and the result makes for one of his best albums so far. From the big guitars to the anthem-like choruses, Nash’s latest manages to update a sound that resonates both comfortably and refreshing at the same time.

Some of It Was True feels like a noteworthy stepping stone to the next era of The Menzingers with moments of moving songwriting and masterful musicianship that build on the ironclad legacy of one of Philadelphia’s greatest artistic offerings.

If you’re going to listen to one new release this week, make it Squirrel Flower’s Tomorrow’s Fire. Ella Willams crafted a meaningful album that showcases her limitless potential without disregarding the nuances of her artistry that make Squirrel Flower so unique and powerful.

Jonny is an album you need to listen to front-to-back in order to understand the full vision, nothing about this album should be skimmed over.

Javelin is a poignant snapshot of Stevens’s journey to this point in his career and pushes the boundaries of his art to their most jaw-dropping and potent. Javelin is another technicolored and honest feather in Sufjan Stevens’s hat, a feather that feels freeing and warm as the artist gives us some of his best work in years.

The NYC disco-pop outfit delivers a lot of grooving, dance-ready options.

Slow Pulp keeps those odd touches in place, scuffing up a very pretty album just enough to keep things interesting throughout Yard.

Pure energy, passion, and joy ring throughout, as “Elijah Rock” is one more case in point that shows that James Brandon Lewis can make a tribute album sound as original as possible.

Sit Down for Dinner is an album you need to hear multiple times to understand the nuanced beauty of it all, allow Blonde Redhead to wash away the worries of reality and view these stressors through their technicolor, melodic lens.

Cousin is the band’s most avant-garde album in years, as Tweedy unleashes ten moving pieces of poetry set to unpredictable arrangements that all evoke the feeling of warmth despite their cold disposition.

Lydia Loveless’ Nothing’s Gonna Stand In My Way Again is a cathartic release without a strong resolution, as the journey is the focus, staying strong through heartbreak, mental stress, and much more.

On his fifth studio effort, Brent Cobb has never sounded more relaxed. And the calm, self-assured flow of his vocals is not particularly out of place for this always-on-the-cusp-of-making-it-big Americana artist, but there is a laid back flow to Southern Star that is hard to ignore and nearly impossible not to love.

At this point in their over thirty-year career, Teenage Fanclub is confident in their mixture of light touches around an indie rock foundation and Nothing Lasts Forever continues them on their journey.

In just two short years, Russell has emerged as one of our most important voices, and The Returner further projects her voice and career.

Art Dealers may just be his best album yet.

Each poetic song on The Land is Inhospitable and So Are We paints a powerful picture that is made more captivating by the orchestral and choir arrangements. It’s a risky record, but one that pays off much better than trying to be rid of a soul.

The real highlights for Woods this go around are the four instrumental efforts that each have a distinct vibe yet are linked spiritually. Rather than acting as placeholders they take root as distinct works.

A balance of material, performance, and production mirrors the bandleader’s emotional equanimity in such sublime fashion, Relentless is as close to perfect as long-player out this year.