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With Currents, Tame Impala’s Kevin Parker deserted the much more resolutely lo-fi aesthetics of his 1st two albums, like a movie director transitioning from Super 8 to IMAX. After all, Justin Vernon’s time in the studio with Kanye West gave him a good deal of exposure to Auto-Tune and other electronic technologies, and that hypermodern signature positions 22, A Million about a billion miles from the modest, earthy tones of the band’s to start with two albums. After releasing their promising indie-pop debut two decades before, Girls extensively redefined them selves on their 2nd and closing album, Father, Son, Holy Ghost. With their 3rd album, the California pop-punk band Joyce Manor distilled their frayed fuzz into an elemental blast of ability and melody. On Smoke Ring for My Halo, Kurt Vile’s breakthrough album, the Philadelphia songwriter performs an acoustic guitar and sings about how he’ll probably never leave his sofa again-«cause when I’m out, I’m only out of my mind»-and basically shrinking to hide from the world by hiding inside his baby’s hands. Where his previous albums had been scuzzy, lo-fi efforts, Smoke Ring shaped the groundwork of his future ten years of output, spotlighting a poet who untangles circuitous trains of assumed in excess of hypnotic guitar designs.