Editors' Choice for June 2017

Three decades in, the quintet keeps the party going with an energetic 12th LP of tried-and-true reggae, hip-hop, and metal fusion.

— Neil Z. Yeung

A gorgeous, dreamlike homage to the coastal French city that clearly holds a special place in the pianist's heart.

— Matt Collar

A historical-performance release where the talents of instrument maker, performer, and composer seem to converge.

— James Manheim

On their militant second album, the quartet and producer Adrian Utley offer a soundtrack for the apocalypse, yet refuse to be swallowed by it.

— Thom Jurek

A confident, intelligent ninth LP that shares The Minutes' dramatic flare while adding acoustic instrumentation to electronics.

— Marcy Donelson

Surprising seventh set that finds the pop-punk quartet venturing into the pop mainstream with fun, satisfying results.

— Neil Z. Yeung

This definitive reissue of Allen Ginsberg's musical rendering of William Blake's work includes a slew of indispensable unreleased material.

— Thom Jurek

The former Dirty Projectors member goes solo with a beguiling post-breakup set full of sunny self-motivation and lush melancholia.

— Timothy Monger

A challenging, sprawling live album of all-original material from the trumpeter and his quartet.

— Matt Collar

Reaching back to 2001's A Fine Day to Exit for their muse, the Liverpool rockers push at the future to explore new possibilities.

— Thom Jurek

Andris Nelsons and the Boston Symphony Orchestra present mainstream interpretations of the four symphonies of Johannes Brahms.

— Blair Sanderson

Andris Nelsons leads the Gewandhausorchester Leipzig in a committed performance of the 1888/1889 version of Anton Bruckner's Symphony No. 3.

— Blair Sanderson

The two Stan Kenton alums paired for this emotive, early-'80s date originally released on Japan's Atlas label.

— Matt Collar

The great saxophonist in a quintet setting with savvy trombonist Bill Watrous and pianist Russ Freeman. This may be the best volume in this series.

— Thom Jurek

The Norwegian trumpeter and some longtime collaborators continue their exploration and discovery in expanding the boundaries of jazz.

— Thom Jurek

Beach Fossils' third album adds more collaboration and expanded instrumentation, both of which give their sound an impressive makeover.

— Tim Sendra

The duo's odds 'n' sods collection reaffirms just how consistent -- and consistently beautiful -- its music is.

— Heather Phares

A musically expansive and politically charged second effort from neo-bluesman Benjamin Booker.

— Stephen Thomas Erlewine

For Vol. 46 of Liszt's Complete Piano Music, Feng Bian plays several transcriptions of music by Berlioz that Liszt tirelessly promoted.

— Blair Sanderson

A vivaciously delivered tribute to the California outfit's three biggest influences: Louis Armstrong, Louis Prima, and Louis Jordan.

— Matt Collar

A quietly powerful sequel to 2016's Masterpiece showcasing the raw lyrics and delivery of leader Adrianne Lenker.

— Marcy Donelson

The 100 Years' War provides the framework for this album of Medieval and Renaissance music, sung by the Binchois Consort.

— Blair Sanderson

Leaving EDM behind, the Scottish producer assembles an all-star roster of rap, R&B, and pop guests for his nostalgic beachside getaway.

— Neil Z. Yeung

Collecting all of Can's 7" singles in one place, this compilation spotlights the Krautrock legends at their most immediate, energetic, and enjoyable.

— Paul Simpson

The veteran rockers sound tight, rowdy, and energetic on this set that's as fun as anything they've cut in a decade.

— Mark Deming

The guitarist-composer switches to pedal steel for this album-length series of tender, atmospheric songscapes.

— Thom Jurek

Composed as Seth Haley was adjusting to his new life in California, Iteration is the high-definition conclusion to the Com Truise saga.

— Paul Simpson

A cheerful, bright salute to Jeff Lynne pop and '70s songcraft.

— Stephen Thomas Erlewine

Dion Lunadon, member of A Place to Bury Strangers and former leader of the D4, steps out with his arresting solo debut.

— Paul Simpson

The New England roots rock power trio take a West Coast trip on their strong sixth LP.

— Timothy Monger

Brimming with the confidence of a seasoned vet, this excellent pop debut strikes a deft balance between attitude and vulnerability.

— Neil Z. Yeung

Nick Edwards' fourth full-length for Planet Mu is slightly less hissy than prior releases, and subtly alludes to early-'90s acid house and bleep techno.

— Paul Simpson

An awesome debut from the uncompromising instrumental rock quartet challenges, realigns, and perhaps redefines post-metal's boundaries.

— Thom Jurek

Following a lengthy hiatus, the band's debut for Nonesuch is dense, ambitious, and ultimately rewarding.

— Timothy Monger

François-Xavier Roth and his period instruments ensemble Les Siècles re-create Ravel's Daphnis et Chloé with the sounds of its 1912 premiere.

— Blair Sanderson

Chiming slice of warm West Coast guitar pop with some serious Tom Petty & the Heartbreakers influence.

— Tim Sendra

On their first record in four years, the quartet delivers their signature brand of heavy blues-rock tempered by soul, psych, and jazz.

— Thom Jurek

Adding more keyboards to his off-kilter guitar pop makes the Welsh singer/songwriter's fourth album his most accomplished and expressive to date.

— Tim Sendra

Iván Fischer leads the Budapest Festival Orchestra in a compelling performance of Mahler's longest symphony, the Symphony No. 3 in D minor.

— Blair Sanderson

The debut solo album of progressive '60s- and '70s-style folk from the British-born, Chicago-based singer/songwriter.

— Matt Collar

The gifted songwriter aims for a more eclectic sound here, and he and his band deliver the goods with passion and skill.

— Mark Deming

The follow-up to the astonishing A Year with 13 Moons finds experimental guitarist Jefre Cantu-Ledesma increasing his pop sensibility.

— Paul Simpson

On their sophomore album, these rocking Detroiters up the ante with craftier songwriting, better production, and the addition of tough Latin rhythms.

— Thom Jurek

An enjoyably concise, single-disc thumbnail sketch of the legendary saxophonist's innovative Atlantic years.

— Matt Collar

The neglected arias of Carl Heinrich Graun receive sparkling world-premiere recordings from Julia Lezhneva and Concerto Köln.

— Blair Sanderson

A highly recommended recording of music that is not really obscure, although it has been deemed so for a time.

— James Manheim

The L.A.-based singer/songwriter returns to his New York muse, this time evoking a darker, rawer tone.

— Timothy Monger

Khatia Buniatishvili plays Rachmaninoff's Second and Third Piano Concertos with extraordinary clarity, brilliance, and sensitivity.

— Blair Sanderson

The sophomore outing from the Aussie pop provocateur finds Callinan flexing his EDM muscles, while maintaining the nervy post-punk foundation that made his 2013 debut such a prickly affair.

— James Christopher Monger

British producer Lapalux boldly reinvents his sound with third full-length Ruinism, a fascinating work which ponders the space between life and death.

— Paul Simpson

Equilbey forges clean contrasts between the rich choir and the vibrato-free strings for a superb reading of the Mozart warhorse.

— James Manheim

Lorde broadens her sonic and emotional palette on her excellent second album.

— Stephen Thomas Erlewine

The second record by the duo of the Marked Men's Jeff Burke and Suspicious Beasts' Yusuke Okeda is a power pop meets garage punk delight.

— Tim Sendra

The band's third album in three years is a reliably hammer-tough, hatchet-sharp, gnarly-sounding slice of garage punk.

— Tim Sendra

Minkowski and musicians deliver an interpretation that is sharp and biting.

— James Manheim

Marika Hackman's shift to a grungier sound on I'm Not Your Man is also a triumph of wit and heart.

— Bekki Bemrose

This is a satisfying, high-spirited Shostakovich album that runs counter to the composer's grimly ironic tone.

— James Manheim

The L.A. songwriter and successor to the Laurel Canyon sound delivers lush psych-folk and timely protest songs on her fourth LP.

— Marcy Donelson

The Dickinsons dig deep into their roots on a set of originals and covers of blues, gospel, and folk with reckless abandon, and select friends.

— Thom Jurek

The unusually satisfying program alternates between fun and intellect, with a bright, slightly splashy sound reminiscent of E. Power Biggs.

— James Manheim

Listeners are taking pleasure in discovering these obscure treasures that deserve to be better known.

— James Manheim

A refreshingly back-to-basics score for the AMC drama series, composed by former Tangerine Dream member Paul Haslinger.

— Paul Simpson

The first solo album by the former Only One spins tales of drugs, love, and politics shot through with hard-won wisdom and slashing guitars.

— Tim Sendra

The expanded Purple Rain marks the first deep dive into Prince's legendary Vault.

— Stephen Thomas Erlewine

A complex, textured release that finds the group moving into new realms and leaving the Britpop tag behind.

— Nate Knaebel

Brooklyn quartet with a love for N.Y.C. bands of the '70s and '90s, but with a totally up-to-date energy and vision.

— Tim Sendra

Motets of Monteverdi have been combined with music of his near contemporaries to create a work to compare with his Vespers of 1610.

— Blair Sanderson

Despite a sparsity and the unchanging rhythm of Coleridge's quatrains, the narrative drama of the poem is realized in full.

— James Manheim

A politically charged album that harkens back to prime mid-'70s Pink Floyd.

— Stephen Thomas Erlewine

Recorded at Chicago's Museum of Modern Art, four of the artist's trios play separately and in various combinations to deliver a monolithic and inspired document.

— Thom Jurek

A tuneful slab of deeply entertaining, '90s-indebted fuzz-pop from this West Virginia quartet.

— Timothy Monger

Produced by Shawn Lee, the band's ninth album is a comforting nostalgia trip that sums up their career in lovely fashion.

— Tim Sendra

The Joyful Noise debut of Brian Batz's established post-rock project can double as surreal background music or engrossing headphone material.

— Marcy Donelson

Late-night soft rock that sounds like it was made of half Christopher Cross and half Van Morrison.

— Tim Sendra

Soprano Sophie Bevan sings recitatives and arias by the young Mozart and Beethoven, as well as the mature Haydn.

— Blair Sanderson

The uncompromising singer/songwriter looks back to his country-rock days without forgetting what he's learned since then.

— Mark Deming

Sun-Wook Kim and the Hallé Orchestra, led by Sir Mark Elder, deliver expressive performances of Brahms' two piano concertos.

— Blair Sanderson

An optimistic and affectionate sixth LP from the whimsical tunesmith intended as a small tonic for the turmoil of 2016 and its aftermath.

— Marcy Donelson

The Australian group's second album is another low-key charmer made up of scrappy indie pop, singalong tunes, and hooky chants.

— Tim Sendra

A clearinghouse of strong outtakes and live material from the Smiley Smile/Wild Honey era.

— Stephen Thomas Erlewine

An uplifting, deeply emotive fourth album from Kamtin Mohager's synth pop outfit, featuring production from the Naked and Famous' Thom Powers.

— Matt Collar

This album of choral music by British singer and composer William Petter is a memorial tribute, with proceeds going to Sarcoma UK.

— Blair Sanderson

Produced by Brandi Carlile, the Rogers sisters' third LP is a marvel of quiet grandeur and steely Southern pragmatism.

— James Christopher Monger

Long thought lost to time and previously unreleased, this revelatory soundtrack to Roger Vadim's painstakingly restored film is offered in a deluxe package.

— Thom Jurek

The Montreal indie electronic outfit returns the heavy-hearted sophisti-pop sound established on 2014's Picture You Staring.

— Marcy Donelson

Sprawling, brawling, and sweet experimental noise pop from an adventurous Athens, Georgia quartet.

— Tim Sendra

U2's crowning moment and the definitive sound of late '80s mainstream rock.

— Pat Sullivan

Brilliantly chosen, well-documented deep dive into a bevy of private press and barely heard soft rock treasures from the '70s.

— Tim Sendra

Now Again's second collection exploring the distinctive mid-'70s rock scene in Zambia.

— Timothy Monger

Comprehensive three-disc set of indie pop hits and misses that captures all the jangling, chiming sounds of the underground U.K. music of 1988.

— Tim Sendra

Long Beach rapper's sophomore LP features an impressive list of guests on a footwork-inspired set.

— Neil Z. Yeung

A major Baroque release of music by a composer who looks better and better with each passing decade.

— James Manheim

A colorful guitar-absent debut that pulls from a panoply of influences from the Beatles to Donny Hathaway to XTC.

— Timothy Monger