Quieter and striking a more somber tone than their Grammy-nominated first record, it sounds as if the band went out of its way to tone down the catchiness of their initial offering. But the softer focus put the lyrics front and center and that’s, in part, what separates The Lumineers from the slew of bands that came after trying to replicate the success of “Ho Hey”.

Because it’s a soundtrack, where the music works in support of narrative and imagery, Atomic remains subdued.

While this faithful tribute doesn’t lessen the sadness, it does remind us that genius is timeless and that the memories of those triumphs will linger long enough to inspire us forever. The fact that these performances serve to remind us of that fact is reason enough to rejoice.

He may not be looking to “kill Saturday night” anymore but, with Upland Stories, Fulks has composed songs that are richer and more rewarding.

“Harmonic Hall” is a pseudo serious semi-Arabic sounding pointless exercise in sequencing and doesn’t aid the soporific nature of the record one iota. The rest of the record is nothing more than pieced together bits of overwrought musicality that were always present since the 90’s but never given center stage until now.

Though not for every taste, Felder has enough going on to be more than just aural wallpaper.

Over accessible grooves derived from the same source used by groups like Tinariwen and Terakaft, Brahim sings with an easy tone that coils her passion into a tight spring, rather than shoot it out of a cannon.

The Gloaming is different because it gets at the lovely essence of the Irish tradition without sentimentality or dumbing down--and also isn’t afraid to make it modern.

As with so much African music, Né So favors hope over despair, proud defiance over inchoate anger, and stands as the most trenchant portrait of the African musical spirit so far this year.

Stuart cut a slew of tracks at their studio, handed the results to J.D. Foster for mixing duties, and wound up with one helluva platter that’s even better than The Deliverance of… and, as fans will realize upon the first spin, slots perfectly into his Green On Red oeuvre.

Not as prolific as some of his peers, it’s easy to forget what a great musician Wolf is. Thankfully, this new one serves as a fresh reminder.

Dire and descriptive, You Can’t Go Back If There’s Nothing To Go Back To numbing melancholia is uncommonly compelling.

The result is a fantastic record, powerful in its calmness.

A terrific beginning, Little Windows offers its audience a perfect view.

If your idea of African music is Paul Simon playing out his colonial lord fantasies amid a bunch of syrupy melody and chipper rhythms, well… this note’s for you. And there are some surprises awaiting.

Spend enough time with Lost Time and you’ll find yourself singing snatches of lyrics about the west coast tsunami (“I Love Seattle”) or misogynist trolls (“The Internet”) in the shower. And, weirdly, it’ll be fun.

Forever Sounds (Shake It/Damnably) is a kaleidoscopic, sonic soundscape, engagingly recorded at John Curley’s (Afghan Whigs) facility, Ultrasuede Studios.

It’s the weird stuff that’s stirring on this non-native take on American folk and country, the eerie distortions that you get from being outside looking in.

Side Pony is a solid starting point for anyone who has yet to discover the band.

Thanks to this well-constructed compilation CD (including a very informative booklet), his legacy will be exposed to a new generation of musicians, and music fans.

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

One of the strongest debut albums in recent memory.

I Abused Animal is a real shocker and definitely an album you won’t easily forget.

This is a very enjoyable round-up of shoegaze, shoegaze influenced and vaguely-similar-to-shoegaze bands, including some material you’ll know well and some that will likely be less familiar.

Night Fiction is beautifully played, full of the clean, lovely sounds that can be made on traditional rock instruments, but it’s not very memorable.

It’s hardly an easy listen, but it’s a compelling one just the same. And if it’s not exactly a conclusive journey, it’s still one worth traveling all the same.

Repetition and simplicity balance the sadly beautiful sounds on Wabi-Sabi; an eccentric album that will find its home with those who seek something creatively different in their music on a mellow, rainy day.

Going Down In History is pretty much what you’d expect from the genre veterans; catchy three-chord country with some distorted guitars and plenty of punk rock attitude and smart ass lyrics.