A PERFECT CIRCLE, “Starless” (BMG) The latest example of A Perfect Circle doing what A Perfect Circle does: crunchy guitars, passionate vocals, pulsing rhythm. They’ve stepped back toward the melodic metal that got them on the scene, putting the spacious keyboards aside for the moment. APC keeps bringing the heavy because it works! Maynard James Keenan and Billy Howerdel know better than to mess with a winning formula. Here’s hoping this single leads to an album proper.

CONVERGE, Hum of Hurt (Epitaph). Punk-infused metal in the realm of Bad Brains meeting Mehuggah, complete lots of black metal growling vocals. There’s a lot to sink the teeth into, as there are some great melodies to be found under the rumble. There’s guitars are a lot of fun, and the bass penetrates the chest while shaking the ground underneath. There’s no questioning this band’s sincerity.

THE VIOLET TWILIGHT, Between the Colors and Me (The Violet Twilight). A delightfully psychedelic album from a band who heard the Beatles of the late sixties, Led Zeppelin III, and indie rock in the eighties and early nineties. The sounds make for a mostly mellow stew driven by trippy soundscapes, chill percussive grooves, and airy vocals that weave in and out of the mix. There aren’t a lot of bands out there like this one. That’s what makes this album that much more enjoyable.

LAURIE ANDERSON, Let X = X (Live) (Nonesuch Records). Laurie Anderson may not be in a class by herself, but that class would fit into a very small room with space to spare. Still going strong after more than 40 years, Anderson brings her spoken word and (somewhat) sung poetry before a live audience with her band, Sex Mob. Anderson is clearly on top of the issues of the day, like politics and Artificial Intelligence. The band provides percussive grooves for their singer to work with, giving everything a nice sense of flow. Abstract noises and unexpected riffs fit in nicely wherever the band sees fit. More experience than concert, Anderson gives us plenty to think about while we do the oddest bit of swaying to the rhythms.

THE DEAR HUNTER, Sunya (The Dear Hunter LLC). A quick New Wave synth gives way to lush indie rock and we’re off and running. The Dear Hunter’s sound blissfully defies genre, as it’s clear this band has more than a few influences. But there are some serious eighties and early aughts sounds teaming up to create something original, to say nothing of some terrific vocal harmonies. The three part suite “The Glass Desert” is a particular highlight. But then the entire album has a wonderful sense of flow. It’s meant to be heard from front to back. It’s time well spent.

BRUCE SOORD, Ghosts in the Park (Kscope). When he’s not waxing poetic with The Pineapple Thief, Bruce Soord likes to get in touch with his more acoustic side, creating music of depth and passion (as does TPT, only louder), giving us a chance to look deeper into his heart. The formula has worked before, and it works nicely on this album. He saves the electric moments so they make a bigger impact. It works. Songwriters say the best songs can be played on an acoustic guitar with no accompaniment. Well, here you go.

ARGOVIA, Primal Repetition (Argovia). A solid bit of melodic metal in the same family of bands like Chevelle. The heavyweight guitar riffs are balanced nicely with the vocals for a somewhat softer head-banging experience. That’s a bit facetious, but the point remains. This is a good record that hits the bullseye with anyone interested in the genre.

JOHN PALUMBO, r u science ( ). Best known as the leader of Crack the Sky, John Palumbo delivers a thoughtful and personal collection of songs on r u science, an album that tackles contemporary issues such as politics, immigration, and artificial intelligence with clarity and conviction. Rather than hiding behind vague metaphors, Palumbo addresses these subjects directly, making the songs easy to understand and immediately engaging. Musically, the album is driven by bluesy guitar riffs and steady rhythms that provide a solid foundation for the material while keeping the focus on the songwriting. Palumbo’s relaxed vocal style occasionally recalls the cool, understated delivery of David Bowie, adding warmth and personality to the performances. The result is a sincere, no-nonsense record that balances social commentary with strong musicianship. For listeners who appreciate artists who get directly to the point, r u science is a rewarding and timely release.

ROBERT FRIPP, Good Evening, Hippies (DGM). The varied guitar voices of Robert Fripp are best appreciated when heard in one continuous sampling. This compilation, which was included for free in an issue of Uncut magazine, proves the point while simultaneously celebrating Fripp’s 80th birthday. When it comes to guitar, Fripp is always Fripp: forward thinking and innovative with a unique set of chops. But hearing the innovation and chops evolve while he works alone or with the likes of David Sylvian, David Byrne, Andy Summers, or Brian Eno (among others in this collection) makes for a fascinating journey. Robert Fripp is one of a very few. We as listeners are fortunate to have had him for all these years.

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