Often earnest, anguished, and euphoric, Ten Crowns delivers the catharsis while keeping it real, so the occasional clunky lyric or corny dance trope can be -- in line with the album's themes -- forgiven, especially when it's intentional.

It may not be as consistent as some of their other albums, but there's still quite a bit of Sparks' witty tale-spinning for fans to enjoy.

Even as Low’s sound twisted into new forms over the years, they never quite got into bluegrass territory, and it takes a few songs to acclimate to the combination of high-spirited acoustic music and Sparhawk’s emotionally powerful but usually subtle style.

2 has come off as just a bit too haphazard and like editing practice to be fully immersive; but its bittersweetness and unusual, playful spontaneity are, like Shauf, not with their charms.

The piece is essentially a longform space lullaby, and it's as soothing and tranquil as one could imagine.

Talkin To The Trees is another album of Neil Young doing what he felt like doing in the moment, and if it's flawed, after sixty years of record making, no one with any sense would want him any other way.

While HAIM's songwriting is more prominent here than it was on Something to Tell You, it shares that album's emphasis on vibe, and though detours like "Spinning"'s pastel '80s R&B are entertaining, other songs get lost in the shuffle.

Despite a few drastically darker moments, the majority of Luminal feels familiar and comforting.

Desert Window is her first full-length, and it's a more fleshed-out expansion of her sound, incorporating more acoustic instrumentation as well as more complex choral harmonies.

With American Romance, Nelson tunes into feelings of expectancy, newness, and a nervous uncertainty that's endearing.

Upon deeper listening, however, it becomes clear that some of the album's most overpowering moments are those that first come on as slight and retiring but reveal their anger, disappointment, and frustration by way of a slow, steady boil.

Carner and his band create a warm, comforting sound on hopefully !, reflecting on life's trials but ultimately remaining confident and ready for the future.

Admittedly, all of Yungblud's sonic borrowing can get a bit maddening. Nonetheless, you feel his passion, and the album takes on layers of meta-self-reflection, as if he's trying to work through his influences as a way to suss out his own musical identity and legacy.

While there's more obvious contrast between Streisand's voice and the gruff Bob Dylan on the standard "The Very Thought of You," there's a warm sweetness and even a little thrill to hearing the two musical titans come together.

Overall, Princess of Power is yet another sleek, solid set from the reliable pop star.

The ten-song set bristles with potency and urgency, especially on the high-octane singles "By a Monster's Hand" and "In the Barn of the Goat Giving Birth to Satan's Spawn in a Dying World of Doom."

Like some of his other albums, though, Landscape from Memory runs a little too long, with a few of the slower, less exciting tracks seeming unnecessary. That's not to say that it all sounds samey or lacks inspiration, however, and the record's best tracks are exceptional.

This is artistic progression and while some might miss the old, more fun version of Gwenno, the more mature and serious version isn't half bad.

Gina Birch has always been a brave and clear-minded voice as a writer, musician, and artist, and Trouble leaves no doubt that she's rabble-rousing for the right reasons, and making compelling music at the same time.

Different Rooms is a nebulous haze of semi-familiar melodies and half-heard voices, forming an abstract dreamscape.

Seemingly willing to dip a toe in every genre. It's certainly interesting, and often successful, though a sense of continuity is missing from the album as a whole, which feels almost like an anthology. Still, there are plenty of highlights.

The eclectic set is built around the concept of a convergence of multiple realities administered by a mystical jukebox.

Headlights is his most unassuming, back-to-basics (Neil Young, Elliott Smith) record in years.

The First Family: Live at the Winchester Cathedral 1967 offers a fascinating and exciting glimpse of them in their embryonic stage.

It’s good to see Tyler having some real fun with it, but for a 28-minute project that should be all killer no filler, DON'T TAP THE GLASS warrants more bite.

Adventure is another chapter in what has become an improbably delightful late-career renaissance for these pioneering underground heroes.

Going Down To The River … To Blow My Mind works well enough that one hopes they'll change their minds about this being the end of their trilogy.

For all his weariness, Gibbs remains compelling and cogent. This time, JID, Larry June, and Anderson .Paak are the guests, and the track with Paak is (no surprise) both the hookiest and most in tune with Gibbs' heavy ambivalence.

Stylistically, Friday remains as hard to pin down as ever, but in terms of ambition and drive, she's never been more focused.

A far jollier ride than its angsty predecessor, 2023's Other One, Metal Forth leans hard into the group's kawaii metal aesthetic, delivering ten potent sugar rushes that evoke Babymetal's dizzying, confectionery debut.

The slightly dubby and distorted "What We Are and What We Are Meant to Be" is the band's own acknowledgement that they're challenging themselves and pushing themselves forward.

There aren't many surprises here, for better or worse, and it's a pleasant, straightforward collection of reliably rocking jams.

If there's a knock on when i paint my masterpiece's 200-to-16 approach, it's that the album's recording style is its most cohesive trait, with the track list sometimes seeming like a Bob Dylan exercise, followed by a Frankie Cosmos op, a quasi-tango study ("dogs playing in the backyard"), etc. -- even if that playful, adventurous spirit is also part of its charm.

The album balances more violent, hardcore material (the Clipse-featuring "Community") with songs primed for the club (the Miami bass-influenced "WRK" and "Sk8"), with the nostalgic coming-up story "For Keeps" being a highlight.

Interior Live Oak is both a little more moving than the wry songwriter's typical output and a little on the long side (among the 16 songs are a handful of six- and seven-minute tracks), although it may be just the thing for a contemplative Sunday afternoon.

Atmospheric Hammond organ and country-styled guitar help set a sunny stage for songs such as the sultry "Rope You In"; the lusher "Contact High," with its acoustic and 12-string electric guitar, Ace Tone organ, and rim clicks; and the breezy and lilting "Hot Headed," an affectionate tune that regrets giving in to anxiety sometimes.

It's not a fun listen by most metrics, but investing some time in its lonely chill eventually reveals a deeper side of DeMarco's musical vision, one of slow rumination that's just as valuable as the combustible spark of his earlier days.

Legacy: The Creedence Clearwater Revival Years (John's Version) is a potent reminder of how many great songs Fogerty wrote in his salad days with CCR, and shows he still has the energy and spark to give them life, but he might have done a better job of demonstrating the latter if he'd come up with a good batch of new tunes.

When Rodney Crowell feels like rocking a bit, Airline Highway gives him all the swagger he needs, and even when he doesn't, he confirms he's nobody's fool and remains one of the best songwriters in the Americana community.

It seems like her songs have more repetitive hooks and direct lyrics than they did before. Her voice is still cloaked in effects which give it a supernatural tone, and she's evolved as a beatmaker, constructing tricky rhythms which guide the songs along, only stepping out in front on a few occasions.

Choppy alternation between spoken and sung parts continues through much of the program's second half, as Taylor and her guests wrangle with the power dynamics of prospective new love and (with an especially apt Jill Scott appearance) delight in magnetic physical attraction. The erotic slow jams, led by the finely wrought "Bed of Roses," tend to fade out sooner than necessary as well.

While Double Infinity is an album more likely to wash over listeners than stick, its collaborative, impromptu spirit has infectious qualities of its own, and it's interesting to hear that the band expanded outward instead shrinking with the first departure of a member.

Last Missouri Exit is a thoroughly entertaining debut from a band that knows how to make the most of that most uncommon of musical virtues, modesty.

The arrangements, often filled with close-miked acoustic instruments and clanging percussion, feel as intimate as the lyrics, yet they're also disarmingly trippy, with electronic effects and processing twisting the sounds into unfamiliar and unconventional textures.

Sheeran knows how to please his fans and Play doesn't veer far from his usual formula, shaking things up just enough with the invigorating addition of a couple internationally spiced highlights.

So while this sophomore set is not as immediate as her star-making Invasion of Privacy, it delivers on high expectations with fine production, bars for days, and Cardi's persona itself.

The back and forth between quiet and loud numbers softens the focus of this music, and Bleeds doesn't have quite the same cumulative impact as Rat Saw God. That said, Bleeds is a ferocious, sometimes deeply moving collection of songs, confirming the strength of the music and revealing Hartzman's continued growth as a songwriter.

Arctic Moon is a solid comeback from a group whose sound is so influential that it feels like they never left.

While some of the songs on Oh Snap are as poetic and musically engaging as her best work, others -- including the vocoder-steeped, house-infused number "A Little Bit More" and her brief, off-the-cuff a cappella take on the Commodores' "Brick House" -- though intriguing, never fully transcend the feeling that she's just having some fun in the studio.

Considering the extended album drought, Here for It All is surprisingly concise like Caution, though the number of directions it takes is reminiscent of the singer's hourlong statements.

Frost Children take less risks with style and production on SISTER, but they turn in a well-oiled and high-potency set of songs that are more accessible than outlandish, designed for both dancefloor nostalgia and memories yet to be made.

There’s some of that familiar production magic [of Max Martin and Shellback] in the instantaneous disco-pop hooks of “Wood” or the classic Swiftie melodic sensibilities and sonic detailing of “Opalite,” but nothing comes close to the poreless candyshell immediacy of “Bad Blood” or the undeniable catchiness of “We Are Never Getting Back Together.” Instead, these songs choose a more refined approach that’s slower to take hold but makes an impact nonetheless.

While Cutthroat may be a bit disjointed, it's not because Shame are indecisive. They continue to push and invent, even when it might be safer not to. Sometimes the results are thrilling, sometimes they're frustrating, but they're never cowardly.

The cascades of noise and occasional glowing chamber sounds almost serve as a wordless balancing element to lyrics that can feel fatalistic, even if they're just accurate assessments of where the world is at present.

With a couple of exceptions, basically just the reggae and hip-hop songs, Buddhist Hipsters comes closest to recapturing the vibe of the Orb's prime work from the '90s than anything they've done in a while, making it one of their best efforts since Thomas Fehlmann left the group in 2017.

Belong is full of lyrics about being on the outside looking in, a perspective that gives context to its skillful mix of angsty and dreamy textures.

SickElixir is the most challenging listen in Blawan's catalog, which makes it all the more unexpected that it's his first album for such a high-profile label, but it still contains some fascinating material.

So far, Liminal is the strangest of the Wolfe/Eno collaborative efforts, playing around with sonics and textures while still retaining an air of familiarity.

His thoughtful pacing doles out thrilling moments worth waiting for, while the slower segments allow for the energy to build again.

LOTTO is disorienting and messy, but there's undoubtedly something real and honest about it.

For anyone expecting the cheeky fun of her 2000s gems, there's no mirth to be found here. It's purely righteous anger, biting sarcasm, and cutting barbs, all draped in pain and disappointment. The bloodletting is cathartic and unexpected, making this a surprising maturation that makes Allen as relatable as she's ever been.

That Wasn't a Dream is an unexpected, welcome surprise. Its ambitious tonal, textural, and harmonic palettes are intricately tied in a series of sonically sophisticated compositions reflecting the endless possibilities for 21st century jazz in improvisation, aesthetic inclusion, and production.

Describe contains some of Jadagu's most personal songwriting, while the arrangements show that she's constantly looking to push her sound forward.

Again's relatively more streamlined indie rock and reflective sensibility may set it apart from their previous work more than any studio varnish, although it all works together to take a more consistent step forward on their proper label debut.

The resulting solo debut, Melt, shares some pillowy musical essence with the Marías but lands somewhere more intimate, introspective, and searching as well as even more dreamily atmospheric.

Although the group's early period still packs in the most memorable moments, Night Light is a fine addition to their reliable late-era catalog that keeps it engaging, impeccably produced, and emotionally earnest.

The only song that seems to come from nowhere is the album ending "Wham Boom Bang," a jolly little knees up full of clarinets, cute guitar licks, and a saucy vocal from Zander. The rest of the album is Cheap Trick through and through, every song a reminder of how their past achievements were truly special, while at the same time letting everyone know they are still cranking out songs with all the manic energy, gleeful abandon, and pure pop songcraft they've embraced from the start.

The gentle push and pull between soft sounds and rich arrangements give the record just enough tension to keep it from drifting off into the clouds, and Sayeg knows just when to inject something interesting when eyelids begin to droop a bit.

The existence of all these already issued tracks makes this collection lean more towards the casual fan, though the more dedicated will probably want to hear the acoustic takes, instrumentals, overdub sessions, and rehearsals that make their official debut here. There are definitely enough quality rarities to make the duplication less painful.

It's not a grand-scale homage to Merle Haggard, but it comes from the heart and sounds like it was as pleasing to record as it is to hear.

Overall, Rebuilding is a winsome and rather wistful listen from a complementary pair of musicians who could certainly find their niche as occasional film composer

Maybe he isn't always happy, but The Sherlock Holmes Rhythm 'n' Beat Vernacular will make you crack a big smile and stomp your feet.

While some of Holy Island is danceable, some is dreamy, and some is pure atmosphere, these characteristics come together on the six-minute closer, "Morning Bell," which, with more crashing water sounds alongside footsteps and an actual bell, seems to leave us shipwrecked rather than safe in bed as we awaken from a dream.

It was composed and played by Coverdale alone, using electronic organ, modular synthesis, and piano, and it contains longer pieces which flow into each other, subtly evolving.

White doesn't aim for emotional grandiosity on Inner Day, but uses the album as a place to collect some spare instrumental musings and let them float around before one idea fades into the next.

For their second LP, they've boosted their pop-psych influences, adding to the atmospherics of this music without slipping into silliness, especially on the trippy coda "Gonna Catch You." And the strength of Bill Schalda's songwriting continues to impress here.

This is a solid showing from two still-prolific artists, and while none of it is as momentous as duo classics like "N.Y. State of Mind," "I Gave You Power," or "Nas Is Like," it's substantive comfort listening in the form of highly distilled boom bap.

Delivering raw, narrative‑driven songwriting that feels both prescient and relatable, as heard on standout cuts like "Plastic Cigarette," "Say Why," and "Appetite."

For better or worse, locket sounds like an album with a lot of producers.

Keeping the industrial tradition alive in 2025, CONFLICT DLC is another satisfying effort from the Los Angeles trio.

Adamson's music for SCALA!! sounds like ideal accompaniment for all manner of nefarious behavior; it's one of his most entertaining film scores and great fun for post-punk hipsters and psychotronic film freaks alike.

Scenes from Above stands apart from the guitarist's other Blue Note titles because of the gauzy strength, pliability, and openness of the ensemble in trusting and embracing the tender quality of Lage's music.

It's not always the most forceful or aggressive protest music, though it does have its harder, more bracing moments. Instead, much of it seems to search for the peace and tranquility that would be present in the absence of war and violence.

Not all of Kiss the Beast's risks pay off, but by letting his creativity run wild, Tellier defies the expectations of anyone who thinks they know his music inside and out.

EXPO can be like trying to hear through phantom barriers, but attentive listening is rewarded, and the project succeeds in reflecting a very contemporary fractured reality.

It's an engaging sound adjustment for the band that's unlikely to leave many fans of their label debut behind.

Piss in the Wind is fairly depressing at times, offering just a few short moments to perk up the 21-track runtime, which shouldn't surprise longtime fans of Joji's wounded, narcotic beauty.

It’s a long journey through a track list that approaches two hours of music, but if time does indeed reveal it to be his final album, The Fall-Off is a worthy swan song.

The Apple Tree Under the Sea takes more listens to fully appreciate than the effortlessly charming "girlfriend," springs' breakout viral hit, but it's undoubtedly a magical and inspired work.

The rapper's sound moves subtly between modes throughout the album, with touches of fantastical synths on the trap-pop tune "Call Back," R&B undercurrents on the infectious "Tiramisu," and a hybrid of Y2K-inspired pop melodies and simmering old-school radio rap production on "ATM."

Prizefighter is marginally better than its predecessor, dispelling some of the awkwardness of a long hiatus and reinforcing Mumford & Sons' reputation as purveyors of quality comfort food. It's hopeful, reflective, safe, and deeply rooted in the folk and country traditions the band knows intimately.

Moby's weary voice surfaces during the mournful "This Was Never Meant for Us," one of several songs that start out slow and sparse but eventually bloom when the strings hit. "Mott Street 1992" recalls the best of Moby's downtempo material, with dreamy breakbeats and lush synths conveying a slow-moving but expressive rush of feeling.

Like most remix collections, this should be approached as a bonus round for fans of the original release, but there's an abundance of worthwhile material here.

While Maria BC's songs can float away into the clouded ether at times (or sink into the sea), Marathon's more tactile sounds keep it loosely tethered to human interaction.

The 2026 edition of Squeeze, anchored by bassist Owen Biddle (who produced the album), makes music that's rich limber, and they make the most of the ideas the group's songwriters dreamed up a few decades back.

Into Oblivion lives up to its name by confronting the void with a cleansing blast of sonic malevolence.

Her haziest and trippiest yet, involving well over a dozen guests, including on synthesizer, organs, and electric guitar.

Barry Can't Swim presented a volume of the Late Night Tales mix series, showcasing music he's fond of but wouldn't necessarily be appropriate for him to drop in a club. While there's a little of the type of lush, organic house that he produces, much of the mix is more downtempo, often exploring Balearic chillout territory, but also venturing into a few other directions.