For as much as Oceania felt like a heavy return to form, Monuments is familiar in the sense that Corgan’s taking a thoughtful swing in a new direction.

For all her bratty star power, Charli XCX’s purest magic lies in the intimate--not the irreverent.

As with everything Lee put his songwriting mind and hands to, though, his original work quickly overshadows any marks of inspiration on these tunes.

Regardless of its wavering intent, though, even a CAVE compilation digs out a reasonably significant trench in underground music--one more deserving of attention than U2’s business practices or some producer’s first release in a decade.

Classics presents these songs faithfully and inoffensively, and She & Him cover them with the best of intentions.

Stripped-down and intimate, Other People’s Songs is a gorgeous collection of punk favorites that, when paired with Kinsella’s relaxed tone and restrained strums, take on a fresh and organic feel.

Rock or Bust is the best LP that AC/DC has produced in over 20 years.

Kykeon is a tripped-out and sometimes intense experience--able to pull even the most rigid listener into the incense-perfumed darkness.

Faith in Strangers is long-form listening at its finest.

Springtime Carnivore doesn’t always showcase the full extent of Greta Morgan’s talents, but it gives more than enough reason to be excited for her future projects.

It wouldn’t hurt Bear’s Den to frolic among the monsters and get a little wild.

Each track deserves mention. Knowing Superchunk, Diarrhea Planet, Ben Kweller, Andrew Bird & Nora O’Connor, Mike Watt and the Missingmen are just a few of the other stand-outs shows why Bloodshot, two decades in, remains so compelling.

The upside is that they remain a compelling and unpredictable outfit even two decades into their career, but the downside is that What’s Your 20 is more or less redundant. These songs all sound so much better on their respective albums.

This is one of the tightest and most intricately arranged Deerhoof records, particularly rhythmically

The collection offers a glimpse inside the band’s development, and at times has an air of what might have been even as it reinforces Tweedy’s overall artistic vision.

It’s trademark Buzzcocks, with the slashing guitars to get you going and biting lyrics that let you know it’s not all fun and games.

Avondale is Ferry teasing at the possibility of something more and never quite delivering.

Pom pom is probably the most accessible, easy-on-the-ear and enjoyable music of his career, without any asterisks.

This very quick, very pretty album is a good new look for TV on the Radio, and longtime fans will also feel at home with Seeds.

The few bonus tracks here don’t necessarily help enrich the albums, outside of the welcome inclusion on the Material World disc of “Bangla Desh,” the 1971 single that was a precursor to the benefit concerts in New York. If you fancy yourself a scholar of the Fab Four and all their endeavors before and after, this is essential listening to aid you in getting a little closer to appreciating Harrison’s growth as an artist and as a human being.

Even in their nascent form though, the songs provide ample evidence of Phillipps’ growing strength as a songwriter.

Albums four and five are stocked mostly with inessential fluff that fans will cue up one time and promptly forget exists.... The true value here rests in the remastering. Page’s production on the original LPs remains unimpeachable, but these reissues give the tracks a subtle sheen.

Albums four and five are stocked mostly with inessential fluff that fans will cue up one time and promptly forget exists.... The true value here rests in the remastering. Page’s production on the original LPs remains unimpeachable, but these reissues give the tracks a subtle sheen.

There’s a bit of guilt in sneaking a peek, a bit of unnecessary personal fluff and a few deeply held secrets that are gifts to receive. Ultimately, what’s most impressive about In the Seams is that Jones chooses to portray Saint Saviour in this way and stick with it throughout the entire record.

Hell Can Wait is a dense and rewarding EP from a rapper who is refreshingly serious about his craft.

American Interior is a monumental feat for Rhys, one that confirms just how sophisticated of a storyteller he is.

Lost On The River is a joyful record, and everyone sounds like they had a lot of fun making it. And, for once T Bone Burnett seems to have been content to steer the proceedings without imposing his very recognizable production style on top of every recording.

Take your time, shift your sonic expectations and enjoy some of the most daring, creative and truly beautiful music ever recorded.