This record, and Light Verse, show that he is still searching, still working hard, and still able to imbue his albums with the same deep feeling and unstinting beauty that he has from the beginning.

Pairing thoughtful craft with spontaneity is no easy feat, but My Days of 58's songs do it effortlessly.

The wait was worth it: Side-Eye III+ is the most holistic, tender, and joyful recording from the guitarist in more than a decade.

Heavenly have done a fine job of delivering what their fans might expect -- indie pop at its finest -- with enough curveballs, gentle bite, and brilliant songs to make it sound 100% brand new, exciting, and impossible to write off as just another nostalgia trip.

It's a well-dressed set of nine finely crafted love songs.

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.

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.

After he works his way through songs with titles like "Can I Mend It?," "Worms," and "God Knows Why," most listeners will likely be willing to give the sometimes anti-hero a second chance thanks to his deep self-awareness, charming turns of phrase, intention to do the work, and expressions of seemingly genuine affection.

Nothing's About to Happen to Me may be the Mitski-est Mitski album yet, despite its character-driven nature and partly because, at least on some level, it captures the anxiety of the Zeitgeist of its time.

The emotional backbone of The Mountain, however, pushes that expert musicianship beyond the typically reliable Gorillaz sound and into new territory, adding more heart and humanity than this cartoon crew has ever mustered.

Despite being only six songs, Days of Ash packs quite the punch and reminds listeners how good U2 can be when they have something to say.

Her most purposeful album since The Teaches of Peaches, No Lube So Rude is a sexy, witty, and urgent statement that reaffirms she's still a trailblazer.

Refreshingly introspective, stylish, and transparent.

A really strong album, one that finds the band circling back to the reasons they started the group while also exploring new, very interesting territory.

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.

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.

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."

The remastering is bright and crisp, and it stands the test of time. .... The songs intended for 15 Big Ones are a bit of a mixed bag, with covers of songs like "Mony Mony" and "Running Bear" falling flat, due to the band's basic disinterest in what they were doing. On the other hand, the cover of the Righteous Brothers' "Just Once in My Life" is quite beautiful. .... Another reason to get excited about the collection is that tracks from the banished Adult/Child get a proper airing here.

There’s a stillness throughout Laughter in the Summer, a mood that can sometimes read as somber. The overarching feeling in these songs, however, is one of beaming gratitude, and that keeps the album feeling less like an expression of mourning and more a slow-moving outpouring of joy and acceptance.

She's full of fire, uncommonly dexterous both vocally and in emotion -- scathing, instructing, loving, and funny as all get out. All 360 degrees of the Jill Scott experience are presented here.

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.

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

Delivers a denouement and a love letter to fans with an assured set rooted in the genre's sonic hallmarks.

Tenterhooks is one of the darker and more internal SSPU albums that stresses atmosphere over energy, which will hit listeners who enjoy their more thoughtful and introspective material, but may miss fans craving cathartic ragers and catchy anthems.

Few bands conjure the heady, dream-like atmosphere of '60s psychedelic rock as believably and with as much passion as England's Kula Shaker. It's sentiment they underscore on 2026's incense-soaked Wormslayer.

If you're a fan of Williams, there are no surprises here, just ten more great songs to add to a catalog that might one day get the credit it's due for the pop star's contribution to, what else, Brit-pop.

Ultimately, Can I Get a Pack of Camel Lights? represents a deepening of Geologist’s already unique musical language. He uses the hurdy gurdy as an entry point for many of the songs, but always proceeds to strange, new places from there.

While the album covers a wide range of heavy sounds, Blackwater Holylight designed the album so some of these intensities bleed into each others while some intentionally upset the balance. It’s a perfectly architected expression of uncertainty and stress, one that only occasionally offers a reminder of hope somewhere in the distance.

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

Despite its multi-purpose recording approach, widely varying tempos, and ever-changing moods, it's Ratboys' most cohesive album yet and one that will likely connect with those fruitlessly seeking closure.

The weird detours and stylistic wanderlust result in an album that somehow makes a lot of sense as a larger statement, with all the dissimilar sounds contributing to a listening experience that demands attention and doesn’t let go once it takes hold.

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

On One Mississippi, the songs, production, and inspired performances offer honest emotions and direct messages, elevating this record above his other recordings, and most 21st century albums in the genre.

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.

Selenites, Selenites! offers the creative vision and fortitude to celebrate community and the human spirit.

A thrilling showcase of Daniel’s compositional abilities, Can Such Delightful Times Go On Forever? makes a compelling case that beauty and expression are essential tools for much more than mere survival.

It's all fine and good, but it lacks the excitement of the Buzzcocks' salad days.

LAROI reveals a growing maturity and surprising pathos on Before I Forget. He brings you into his heartbreak and holds you there.

Courtney Marie Andrews is a first-rate talent, and Valentine shows us she can move in a number of different directions and still deliver something remarkable.

It's ["Vacancy"] an ace slow jam, as are many of the equally flavorful and coquettish songs that surround it -- the slinking "Mobbin in DC," the doo-wop-tinged "Under the Moon," the weightless "Dreaming," and so forth.

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.

By the time the 12-song set closes on the lively, horns-injected "Waiting So Long," it's clear that Ballgame's got the goods and the charisma, and that he found an ideal crew (or they found him) to put his music in its best incandescent light.

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.

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.

There are no weak tracks on the entire compilation, making it essential for anyone who's into jungle in its purest, uncut form.

Wounded and graceful, both in its music and messaging, the writer's eponymous album is one for headphones and private moments.

By prizing nuance, PVA take a decisive step forward; like the bare, imprinted flesh on its cover, No More Like This leaves a subtle yet lingering mark.

World's Gone Wrong is an album of its moment that addresses issues that have been with us for centuries, and like a good blues song, they never stop being timely – and worth singing loud and clear, which is just what Williams does here.

A sizeable shift in tone and emotion from 2022's excellent Faith in the Future, this equally-enjoyable release finds Tomlinson on a winning 2020s streak.

With its highly developed songwriting, excellent vocal performances, and rootsy production style that support and showcase both albums, Can't Take My Story Away is a career-defining album.

The hollow-eyed confessions of childhood trauma on "Gina" and empty consumption on "The Unwrap" make it clear Sleaford Mods are still masters of bleakness, but it feels less like Fearn and Williamson are fighting their battles alone. They broaden their horizons on "Flood the Zone," joining forces with Liam Bailey.

Simply put, Tragic Magic is an affecting, powerfully gentle testament to the alchemy that comes from sharing the burdens -- and opportunities -- of hard times with love and creativity.

On Off the Fence, Hunter's crew display their richest stylistic and rhythmic varieties to date in songs that stimulate the body and resonate in the heart.

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.

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

The release is a set of moody trap numbers with sharp beats and stark lyrics about hustling and street life. He also spends time roasting online haters and addressing Internet drama.

Dry Cleaning sound more expansive and present than ever on Secret Love, transcending their role as sprechgesang post-punk standard-bearers to become innovators whose surreal, poetic expressions of emotion reveal hearts as open as their eyes.

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.

A stellar effort from both producers, Implosion pushes ambient dub to the limit.

The trailblazing Gothic doom group's 17th long-player, Ascension, builds on the gloomy architecture of 2020’s Obsidian, delivering muscular, melancholic melodeath-doom infused with subtle electronic flourishes and lyrics rooted in the cold certainty of mortality.

Who Waters the Wilting Giving Tree... is a nonstop flow of stunning ideas and performances, without ever getting so heady that the fun and strangeness become alienating.

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.

Though colored by tragedy, on Lightning Might Strike Hatfield's songs are as ringingly melodic as ever; a sound that's only grown more indelible.

Holo Boy may not be as much of a statement as Box for Buddy, Box for Star, but its charms are undeniable.

The two lengthy "Sparrow" pieces in the middle of the album are patient meditations that break away from the busier pace of the "Evensong"s. .... The fourth and final part of "Evensong" is earthy and joyous, sounding like a roomful of musicians dancing together and celebrating life, though it appears to be created by a multi-tracked Ellis alone. Ellis' work is perpetually filled with hope, always finding a way through.

Memento Mori: Mexico City is one of the stronger live sets in their discography since Devotional, buffered by the strength of the songs on the tour's parent album and the choice to include so many beloved crowd pleasers.

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.

Long March Through the Jazz Age is a wonderful final statement for Bailey and the Saints: it's reminiscent of their best post-punk work and serves as a reminder for all who may have forgotten that Bailey's skills as a writer and singer were immense.

Antibalas have an innate chemistry and musical shorthand that sounds effortless. The heavy parts always hit hard, but the intricacies of their arrangements are what make them consistently interesting.

Wreckless Eric has rescued a handful of first-rate songs from their initial second-rate presentation, and his belief in this material pays handsome dividends here, ranking with his best work of the 21st century.

Throughout, Spíra's soft, intricate arrangements, earnest vocals, and frequent minor modes give it a quality that's exquisite and haunting at once, making it an excellent entry point to an artist due for rediscovery.

A record that is just as impressively crafted as anything Prochet has done. That is high praise indeed, considering she's made some of the most inventive and pleasing neo-psychedelic adjacent albums of the previous decade or so.

Imaginational Anthem XIV: Ireland is yet another indispensible, high quality, revelatory missive from Ireland's bountiful guitar tradition.

The songs bleed together in a way that invites the record to be listened to from front to back, with Open Mike Eagle's existential metaphors and semi-abstract flows melting into an interconnected statement best experienced in its totality.

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's a fantastic reminder of the side of GbV that's been underrepresented on some of their 2010s/2020s records: their ability to make fun, rambunctious rockers that are easy to sing along to.

It's defiantly a new kind of experience for the band, one that might surprise fans looking to this revival for kicks, but also one that will thrill anyone looking for a record that sounds like the most contrary, uncompromising, and flat-out punk thing possible in 2025.

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.

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

Balloon Balloon Balloon is pure pop music for now-and-then people, skillfully crafted from bits and bobs of the past, then melded together into a sound that is exactly what the smoothed-out, homogenous mid-2020s need.

Even grappling with mortality, De La Soul retain their eternal warmth and optimism on Cabin in the Sky, crafting a fun, jubilant set of tracks as they process deeper shades of reflection, thoughtfulness, and ultimately, acceptance.

He sounds freer than he has in years on Tranquilizer, and within its infinity mirror of transience and permanence, he uncovers the lasting soul within the digital abyss.

The shared lightness of touch among the producers suits Walker's uncommonly exquisite and authoritative voice. While she's still going through it, her artistic power remains undiminished.

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.

This juxtaposition of soft-spoken self-examination and cathartic grunge is remarkably effective throughout the album.

FKA twigs may have already made 2025 her own with Eusexua, but Eusexua Afterglow is far from an afterthought.

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.

The added brightness and clarity given to the songs is a nice upgrade, so is the more compact packaging. Is that enough to justify a repurchase? maybe. It definitely will appeal to Beatles fans who don't have the original versions and that seems like a very good reason for this set to exist.

There have been other Wings collections and they were fine; this double-disc does the best job of capturing all aspects of the band’s career. Anyone wanting to study pop music of the era should make this one of their first stops.

A thrilling glimpse into one of the pianist's most vital periods.

Their entire January 31 performance at hometown club First Avenue makes up half the collection, the rest is a grab bag of recordings made during the rest of the year. The former caught them on a good night for sure, it's hard to imagine another band of the time sounding as revolutionary and alive as the guys do here.

Chin Up Buttercup's opening trio of songs is as powerful as anything Austra has released.

Make no mistake: That's Showbiz Baby! is a must hear for any fan of euphoric, maximalist dance pop.

While nothing can compete with catalog classics Lungs or Ceremonials, Everybody Scream does come close, channeling the same energy and offering similar delights and thrills for the first time in a while.

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.

Fearless, maximalist, and laden with emotion, Lux is a work worthy of both the Heavens and the Earth.

With EVERYONE'S A STAR!, they look back at their early years with an artful honesty, crafting a post-modern boyband album that's as sonically and thematically ambitious as it is fun.

The man has hits, but Baby is his apotheosis thus far.