One would be forgiven for hearing icy detachment in a cursory audition of Chloé‘s new record, her first in seven years, but upon closer inspection, there’s actually a vulnerable, meditative tenderness to Endless Revisions.

Cécile Schott (aka Colleen) likes to keep it fresh. Having only recently introduced vocals to her immaculate ambient compositions, the French multi-instrumentalist throws up another curveball on Colleen’s sixth LP by dropping her instrumental mainstay—the viola da gamba—for a Septavox synthesizer.

Destroyer has always been an incongruous name, the music hardly conjuring up a blast of hard rock. That was Dan Bejar’s point, but there’s something constantly overwhelming about his music. Especially as he continues to experiment and add new tricks, Bejar has a knack of filling every pocket of air, which he does again on his 12th studio album, ken.

Three years after their last release, The Barr Brothers have emerged from isolated recording sessions in a remote Canadian cabin with their finest album to date. Queens of the Breakers is the rewarding result from writing and recording without any advance preparation for the first time, a musical blank slate that allowed the trio to create such imaginative genre blends and captivating melodies.

Hans-Peter Lindstrøm is one of the rare few in electronic dance music who has maintained his underground credibility, achieved mainstream recognition, and not compromised his creativity, all the while releasing his music independently. The Norwegian producer is on his fifth solo album, It’s Alright Between Us As It Is.

Funny how a guy can put out a decades-spanning greatest hits record just two years after releasing his debut album. Of course, we’re speaking only on technicality here—the filmmaker-turned-rocker has been composing scores for his movies since 1974’s Dark Star. This anthology record comprises the themes from 13 of his films, re-recorded with the family band who collaborated with him on his two Lost Themes LPs.

The most enjoyable albums are often the ones that charm unexpectedly. A solid solo record from Parquet Courts frontman Andrew Savage comes as no surprise, it’s the sequence of its miscellany that pleasantly catches you off guard.

If you think you’ve heard this album before, don’t worry, you’re not losing your mind. Bits of Beck’s brand new Colors have been trickling out for years. “Dreams” landed as a single way back in 2015, followed by “Wow” one year later.

Having started in nascent form at the beginning of the millennium, it’s safe to say Stars are old hands at this whole indie pop thing by now. The Canadian five-piece is onto its eighth full-length, and if There Is No Love in Fluorescent Light is a long way from setting anything on fire, never mind matching peak Stars Set Yourself on Fire, it’s a comfortingly pleasant experience.