Having only put out five albums in the past two decades, Beth Orton’s Weather Alive embraces her electro-folk past while embracing a weathered, gorgeous future.
Americana’s Todd Snider delivers his story songs with gusto and tells his shaggy dog tales with mischievous glee on Live: Return of the Storyteller.
Julian Lage’s sound has the warmth of Joe Pass, the bite of Les Paul, and the dexterity of both, as exemplified by View With a Room.
On Sampa the Great’s As Above, So Below, she makes music with incredible clarity of purpose and affirms a sense of interconnected self and heritage.
Joe Strummer’s fear of becoming bored or stuck provoked him and the Mescaleros to turn over new stones any chance they could. This new set is comprehensive.
Death Cab for Cutie show their place in the indie rock pantheon on Asphalt Meadows while also producing music deserving of consideration with some of their best early work.
Beneath the dance-pop, Rina Sawayama’s Hold the Girl is a liberating saga of growth, maturity, and forgiveness branded in the form of an alt-pop album.
One year after his passing, King Scratch fetes the reggae/dub shaman Lee “Scratch” Perry with a multiple-disc, multiple-format, career-spanning collection.
The Reptilian Government possess a rhythmic 1970s funk sensibility more suited to Kool and the Gang than EDM – if Kool featured intricate solos and curated prog-rock aspirations.
Rina Sawayama’s second LP, Hold the Girl, suffers from a lack of risk and is self-consciously conservative in terms of execution. It’s a bewildering anticlimax.
Canadian dream popsters Living Hour capture grief with sluggish tempos, minor key chord progressions, and numbing moments of disassociation on Someday Is Today.