NAV reveals feelings of vulnerability and loneliness on some tracks, while concentrating on jewelry, money, and fame on the more club-ready songs.

An even sharper, more musically dense articulation of JID's profound talents with The Forever Story. The album is packed with nonstop displays of technical ability, complex wordplay, inventive use of beat switches, unpredictable shifts in flow and delivery, and forthright expression of experiences both personal and culturally shared.

Wave's formula of recounting painful memories and reflecting on how far he's come on the road to stardom starts to wear a little thin midway through Beautiful Mind, but he switches things up enough with the unexpected R&B vocal samples of "No Deal" and the booming, anthemic arrangement of "Mafia" to keep things moving along.

While lyrically bleak, Gulp! delivers its pessimism with fist-pumping enthusiasm for the most part, at least until the meditative, Kinks-evoking closer "Light Industry" emphasizes life's repetition on the album's one true outlier, like a final wink and a nod.

By the time the title track brings the album to a close with mournful synths and drums that sound like they could punch holes in the sky, Exister finds Vasquez reclaiming all of himself with painful eloquence.

Anderson's gift is less about her technical virtuosity, than in her ability to contain complex moods and emotions in even the sparest of parts. Aptly titled with its comma-assisted double meaning, Still, Here is indeed a meditation on both resilience and stillness of the mind.

The combination of open heart and open road -- there's no other place the stomping "Black Widow" would sound better -- makes Denim & Diamonds a remarkable record.

While most of The Trouble with Fever concerns itself with personal issues, it isn't insular; the sound is alluring and open, an invitation for relaxation as much as it is for reflection.

Anchored by Blake Mills' tasteful and creative production, the ten-song set feels like a small step forward for Mumford. It's both rooted in the past and primed for the future, like an exorcism gone right.

In These Times accumulated an arresting abundance of ideas, sounds, textures, and styles. The album is its own jazz labyrinth, and as such is destined for repeated listening and startling discovery.

Maybe it'd be easier to digest if it was broken into a series of EPs, but part of the point of Typical Music is that it offers an immersion into an expansive, eccentric worldview. It needs all of its messiness to paint a full portrait.

At every turn, Diablo puts pleasure front and center, and it's a lot of fun to hear Gurnsey reimagine what gets the dancefloor moving.

It will please fans of the hybrid jazz scene in England and draw in many new listeners internationally who will be deeply attracted to its apocalyptic energy, innovative beats, and rowdy abundance.

Music for Animals might seem daunting due to its length and starkness, but it's actually one of Frahm's most listenable albums, rewarding immersion and half-ignored background placement alike.

Only time will tell, but at this point Courting are delivering some smart, bracing fun that will keep you guessing in plenty of good ways.

Mid-album "Silence," a Homeric ballad in which Smith soars through the cosmos on a delicate rainbow of synth and chimes before crashing to the earth in a meteor shower of over-driven electric guitar squelch and digital distortion. It's a bold, deeply emotive moment, evoking the heartfelt style of Peter Gabriel. That these tracks, as with all of EBM, feel both familiar and unexpectedly fresh speaks to the alchemical spark between Editors and Power.

The album's production is warm, spacious, and full of depth, but not in an overwhelming way. Ali is casual-sounding yet inspired, and a tremendously inviting listen.

If overlong, MOSS is lovely on average and improves over the debut by committing to a design that suits Hawke's vocal qualities.

Most of LongGone feels deeply organic, with Redman and his bandmates feeding off each other and working to build something cohesive and bigger than their individual contributions.

An album that, if challenging, successfully mixes religious motifs with a balance of tactile, earthbound textures and hypnotically dreamy, alien atmospheres.

Things Happen That Way is solid, fun, and a bit sad, but a fitting, heartfelt sign-off from an American treasure. It's quite beautiful. One hopes, however, that the deleted tracks will surface on a later release.

Joe Strummer 002 is worth its weight simply for containing remastered versions of all three Mescaleros albums, but the copious liner notes, ephemera, and bonus disc of demos and rarities make it essential.

The band's confluence of rough-edged workingman's rock and unique melodic character was arguably never stronger than in 1970, and At the Royal Albert Hall offers a snapshot of just how strong that combination could be on-stage.

There is no question that The Bootleg Series, Vol. 7: That's What Happened 1982-1985 will cause controversy among jazz fans. But it isn't for them. It's for Miles Davis fans and presents an unvarnished taste of him -- from the cutting room floor no less -- attempting to reinvent himself one last time.

Like Neptune offers a glimpse into one man's heart and soul while reminding us how he got where he is today, and it's an impressive LP from an artist who has some stuff to get off his chest and can still powerfully entertain as he does so.

The trio were always capable of more than mere spaced-out jams, but these four tracks organize all the bliss, curiosity, darkness, and contemplation Bitchin Bajas have shown in the past into something deeply considered and perfectly designed.

Spirituals pushes Santigold's music forward while shoring up its strengths -- and for perhaps the first time since her debut, it feels like art that she had to make for herself.

How Do You Burn? suggests he needs a fiercer and more energetic team of underlings if he's going to remain a force to be reckoned with.

Dense and sometimes overwhelming, Arrangements is a testament to Preoccupations' willingness to stay in their discomfort zone and document everything that happens. This time, however, the results are admirable but not always easy to connect with.

Their shortest salvo to date, Sunrise on Slaughter Beach distills all that's good in late-era Clutch, providing a familiar hit of serotonin and physical release.

Aiming for an even wider international audience, the English-heavy Born Pink matures BlackPink with stronger production, more personal lyrics, and a bold conviction that cannot be contained.

While SPARK's curio-like qualities may win the duo new listeners, and songwriting tendencies could offer a lifeline to certain established fans, it's a change -- signified by its all-caps stylization -- sure to alienate many as well.

Kicking off their third decade post-Barsuk, Death Cab continue their evolution in fascinating and rewarding ways, somehow managing to surprise with fresh directions and sounds yet unheard from this ever-reliable crew.

demon time unfortunately turns out to be underwhelming.

Always a unique band, with these 13 experiments, No Age has created something puzzling, beautiful, and truly one-of-a-kind.

If Jude lacks in immediacy, such melodic tunes as "Not One Night" suggests this is intentional: Lennon has traded direct pop for an elliptical route that suits his skin.

The album also delivers on vulnerable, rock-solid songs, a juxtaposition the Beths continue to master.

Besting the already star-making Sawayama, the triumphant Hold The Girl is the sound of an artist taking their rightful place on the pop throne. Sawayama was born for this.

Someday Is Today is unfocused in more ways than one, but its mood locks into the late-summer twilight.

On the whole, Williams sound engaged, energized, and curious, a winning combo that makes for an appealing listen.

There's certainly a hooky immediacy to much of Keep on Smiling, but it's given depth by Two Door Cinema Club's increasingly artful and sardonic pop approach.

I Love You Jennifer B is pop at its most baffling, but its considered arrangement keeps the album not just listenable, but thrilling, even as it dives off of various sonic cliffs into the unknown.

As a vocalist, Parks shows even greater versatility, matching modes ranging from breathy siren to tough MC with productions that dish out flickering electronics, atmospheric breaks, blown-out trap, and knocking hip-hop soul. Resilience, joy, and power emanate from all of it.

Ozzy sounds hypercharged throughout Patient Number 9, continuing the unlikely late-in-the-game comeback he began on Ordinary Man, and besting that album by taking more chances.

Martsch has evolved into a survivor; while others may have flashed early and burned out, he's kept plugging away and with When the Wind Forgets Your Name he and Built to Spill have delivered a late career stunner that easily equals their best work.

It's Donnelly's strong songwriting voice -- both in terms of core music and lyrics -- that dominates here and is likely to re-engage fans.

A much more concise record than the sprawling, jazzy The Return, As Above similarly celebrates heritage and culture while looking inward and discussing personal issues.

Curtain Call 2 is generous to a fault, playing like an endless streaming playlist instead of a curated compilation, yet it does feature many highlights from Eminem's mid-career records.

Though it lacks the well-edited flow of Heartbreak, it shows Unloved can still push pop's boundaries with vivid results.

There was never any doubt that Bret McKenzie knew how to write a good song, and on Songs Without Jokes, he's more than capable of doing so outside of the framework of an outwardly imposed narrative or feeling obligated to make the listener laugh.

"Juice WRLD Did" doesn't have the same ring to it, but the wobbling/chiming track is among the album's few other memorable moments despite being dusted off and slapped into the sequence after Khaled added his vocal stamp.

There's a lot to like among these ten tracks that offer a fairly wide tonal range while still adhering to a central vibe of cool grooves and big melodies.

Though a handful of tracks fall into the category of fun but not essential, Pulse of the Early Brain feels more necessary than some of the previous Switched On volumes. As it covers a wide swath of the band's career, it provides a few surprises for even the most avid fans -- and whether listeners are hearing these songs for the first time or the first time in a long time, they sound equally great.

Yungblud is fun, catchy, and very accessible, offering punk spirit without ever being truly dangerous or too explicit.

It's a tense and impatient record, even by Megadeth's standards, and re-affirms the band's status as completely essential metal deities who are still operating on a level of excellence most of their peers fell from decades ago.

Art Moore's ten meticulously sculpted tracks balance sadness and hope, softening the blow of Vick's lyrical gut-punches with glistening sonics and gentle musical counterpoint.

The Invisible Light: Spells is the sound of a man mounting a soapbox with a desire to make us turn away from our worst impulses, and the heartfelt focus of his message and the imagination of the music that frames it make it far too compelling to ignore.

Broken Gargoyles is yet another tremendous work from one of the most singular, incomparable artists of her era.

Stars like Chris Brown, Shenseea, and Asake join him here and there, but for the most part, the collaborations are underplayed, leaving the spotlight where it belongs: on DML's silky vocals and mellow grooves.

Whether it's a nod of recognition and a helpful hand ("Throne") or a brief dalliance in the moonlight ("Dressed in Black"), All of Us Flames' mission statement is one of resistance, inclusion, and the healing power of finding and protecting your tribe.

Garden Gaia is a varied presentation of the different routes Pantha du Prince has taken over the years, but its different styles contrast more than they conflict, offering up some of the project's most captivating material to date.

Physical Thrills lives up to the title, delivering one of the band's best statements to date.

Despite its occasional unevenness, the album is exciting in both its moments of audience-tested hitmaking and when Megan cracks the veneer of her invincible persona to share feelings that are difficult, messy, and real.

If you're a historically minded Lou Reed completist, Words & Music, May 1965 is a must. Others are advised to approach with caution and keep their expectations in check.

While arguably overlong, The Painter not only feels heartfelt on occasion but offers just enough variety, mainly through its guests, to sidestep sameyness while sticking to his signature sound. Trivia of note: Orbit also did the album's painterly artwork.

Stunning playing, unexpected turns, and precisely detailed sonic architecture are all commonplace elements of Kikagaku Moyo's sound and the stylistic tangents and world-building atmospheres of Kumoyo Island feel more even more like a statement than any of the band's already seriously crafted previous albums.

Everything I Know About Love is a strong first showing from Laufey, an effortless blend of old and new that manages to both comfort with familiarity and excite with possibility.

Even as Quelle Chris' music grows more challenging, it's still highly compelling, and his lyrics are filled with sharp, powerful observations about life, death, success, and failure.

Let's Turn It into Sound is a complex, angular construction, yet it's not a demanding, impenetrable work, as Smith invites the listener to join her on a spirited, boundless journey.

Although Crushing is a hard act to follow, Jacklin pulls it off gracefully here, with an album whose dramatic arc and songs hold their own.

While Will of the People is not as essential as their 2000s classics, it's a quick, satisfying burst of Muse essentials that cleverly forgoes the hits-compilation graveyard in favor of fresh material that honors both their evolution and dedicated fan base.

It's hard to call any of the unheard material a surprise, yet these demos, abandoned ideas, and working mixes help to add a dimension and perspective to Blondie's basic canon. Those original albums and, especially, the big hits are so familiar that they can seem set in stone, but when they're paired with these raw, unheard recordings, the group's nervy, arty spirit is resurrected, so it's possible to once again understand what made Blondie such a striking, special band at their peak.

King may be letting his feelings spill onto the page here -- his originals were written in the wake of a bad 2021 breakup -- but his signature stamp isn't emotionality so much as it's enthusiasm. He gets a thrill out of cranking up his amp and trying to sing as loud as his guitar, and that's the energy that truly fuels Young Blood.

Earth Patterns rewards patience with some positively searing moments.

This is also a fine example of the philosophy of "If it ain't broke, don't fix it," and Get Fucked shows the Chats know what they do best and are here to deliver good obnoxious fun.

Sitting through the entirety of The Last Slimeto is bound to be an exhausting experience to anyone but YoungBoy's many devout fans, but even if it seems to function more as a playlist than an album, it's definitely not monotonous, and the rapper's dedication to the game is unquestioned.

Much of the album follows this complex formula of heavy emotions and sunny sounds, with Lauv finding a way to turn his dark memories, bad trips, and deepest regrets into something digestible and light.

The slower, foggier, harmony-rich "Ofrenda-Flanger-Ego-à Gogo" is a more coherent entry, if utterly psychedelic, although most of the rest of Freeway Lucifer follows the example of the first song, expressing overwhelmed thoughts through a shape-shifting and ultimately surprisingly (if not entirely) listenable and cathartic sequence of tracks.

As a whole, Heavy Rocks [2022] is demanding, wild, and raw, yet needs to be heard in a single listening session. After three decades together, Boris continue to willfully and eagerly engage a tense musical restlessness that keeps them sounding unsettled, ambitious, often feral, and in a class of their own.

Leaving Why Bonnie's previous home-brewed and indie pop leanings behind, 90 in November and its solid songs mark a confident step forward into the domain of dreamy, twang-infused rock.

At so many points throughout Mint Chip, it's really hard to tell if there's anyone steering the ship anymore, and that balance of madness and control provides the album's most exciting moments.

Overstuffed remix collections like this are hit and miss by nature, but Bigger. Messier. acknowledges this with its very title, and its impressive cast takes the original songs in some fascinating directions, making the whole thing worthwhile for fans of any of the artists involved.

As it stands, Chopper's ear-candy synths and vivid production simply add new layers of intrigue to Kiwi Jr.'s unshakable foundation of consistently strong (and pervasively catchy) indie rock songwriting.

Some stellar outside contributions notwithstanding, Cheat Codes stimulates most when Mouse and Thought are sequestered, allowing the latter to leave space only for the occasional instrumental break or rare prominent sampled vocal.

Touching on Hot Chip 's classic themes and sounds as much as it does, Freakout/Release isn't an entirely clean slate, but it does offer some fresh perspectives on their music along with one of their strongest batches of songs in some time.

With the Mountain Goats, John Darnielle has created a vehicle where he finds ways to surprise the listener in fine ways each time out, and Bleed Out is more proof that he's one of the best storytellers indie rock has ever produced.

Viva Las Vengeance is Urie's amorous declaration to everything sumptuously mythic, exultant, tragic, and yes, even silly about loving and aspiring to be a part of the rock'n'roll world. That Urie is completely self-aware about his place in that world makes Viva Las Vengeance all the more delicious.

Whether it's a genuine transformation or just a brief exercise for the pop chameleon, the triumphant Holy Fvck is a refreshing change of pace and an utter thrill to experience for those willing to look past the headlines into the heart of an artist who continues to grow in the public eye.

Even at its most expansive, Success never feels indulgent, and its directness makes it one of the band's most exhilarating records.

McCombs ultimately delivers one of his catchiest and most uplifting albums to date, while touching on enough various musical styles, improvisation, relaxed melodicism, light hooks, and wit to satisfy fans of most any of his previous work.

Though composed and demo'ed in disparate, less than ideal circumstances, Ancient Astronauts is remarkably holistic in its execution, revealing the band's arrival at yet another creative peak.

Even with the compilation-like format of a new voice on every song and unexpected left turns of style and sound, Thyrsis of Etna quickly becomes a singular world of its own, guided by Miszczyk's spacious production and the environment it creates for his collaborators to take chances with their performances.

Doe and his accompanists sound fully engaged even when this music is whisper-quiet, and it's impressive that a record that sounds this casual is so compelling.

His most elaborately designed work to date, Cry Sugar incorporates grandiose strings, gospel choirs, and soulful wails into its fractured, chest-rattling beatscapes. Channeling the highs of formative clubgoing experiences, the best tracks on the record feature giddy synth melodies and overloaded drum patterns, along with ecstatic vocals.

Compared to the grander constructs of their latter-day Oh Sees albums, A Foul Form is a hit and run job where the music jumps in, leaves everyone stunned, and splits before the cops can show up. It's a manic blast of pure energy with lots of smarts if you're looking for them, and demonstrates Osees are never short on daring, ideas, and the skills to make them work.

There's a haunted, kaleidoscopic quality to No Rule Sandy that has the feeling of listening to an old phone message from a loved one you might have forgotten, or watching grainy home movies -- familiar, yet new.

Even when other albums by Panda Bear or Sonic Boom have suggested positivity and low-stakes fun, none have quite delivered that feeling like Reset does.

Tonally, Beck and Depp don't quite mesh -- Beck's guitar wants to soar, Depp stays earthbound -- and instead of generating something rife with tension or an outright failure, the results are just leaden and dull.