Although it’s been more than a decade since we’ve heard from Lightning Seeds, little dust has accumulated on Ian Broudie’s production skills or pop songcraft.

Digital Ash in a Digital Urn is an album that has always suffered from comparison.

I’m Wide Awake, It’s Morning is, in a lot of ways, the culmination of the early half of Conor Oberst’s career.

Bright Eyes recently released the second in a series of reissues in conjunction with their new label, Dead Oceans.

To listen to Kaya Wilkins’s music is to step into an abstract world of soft-spoken wit and casual experimentation.

Dumb’s third LP is an ambitious, fashion free affair of energetic fuzz-rock that’s gritty, sassy, and honest, and occasionally very catchy. But too often the band are sidetracked and trip it up with short dissonant bursts and unpredictable shifts in dynamics and tempo, ultimately resulting in an erratic and inconsistent album.

Passive listeners, turn back now. South London-based Duval Timothy’s fourth studio album, Meeting with a Judas Tree, is a swirling montage of structured composition and ambient electronica, a free-formed and dynamic rendering of emotional vitality that calls for close listening.

The new album from Neil Young, back together with Crazy Horse for their 14th studio recording, is a continuation of the stripped down style and ecological themes of 2021’s superlative Barn.

Take equal parts Adrianne Lenker’s and Daniel Johnston’s open-eyed earnestness, along with a healthy dose of early Chicagoland musical grab-baggers Shrimp Boat and you might come up with something that sounds roughly like Tenci.