Babehoven’s Maya Bon is a strong vocalist with a good sense of melody, and it’s the vocal melodies that keep Light Moving Time engaging.
We Are Scientists’ Lobes is notable for building its songs specifically around keyboard lines and exploration of 1980s-style synth tones.
Sorry’s Anywhere But Here pokes at rock and pop conventions without being a full-on piss-take on rock music. It’s more rewarding the more it’s listened to.
Steady, the title of Sloan’s 13th album, describes their workhorse approach to music while reassuring fans that they’re still around despite hardships.
The Mars Volta becomes more rewarding with repetition. Despite the outwardly more accessible style, the group has stuffed it full of intriguing musical choices.
Boyfriend’s Sugar & Spice is full of maximalist pop and hip-hop. It delights in obliterating traditional gender roles and celebrates anything-goes sexuality.
After 20 years, it’s clear that OK Go’s most complete album is their self-titled debut which combines a penchant for big hooks and a love for big guitars.
Adam Intrator’s breathy vocals often mesh quite well with Triathalon’s music on Spin. That uniformity in style can also make every Triathalon track sound the same.
Of Montreal’s Freewave Lucifer was inspired by and created during COVID’s isolation. Here and there is a catchy moment, but those bits are rarely repeated.
For those who enjoy jazz improvisation, jam-rock, or ambient electronics, Anteloper’s Pink Dolphins has a lot to like, including Jeff Parker’s production.