The Stones often sound as if they're enjoying hunkering down on a smaller stage, giving enthusiastic performances that avoid sloppiness. It adds up to a gas, a record that belongs alongside Get Yer Ya-Ya's Out! and Brussels Affair as among the best official live Stones albums.

While this effort may not be Welch's surprise transformation into a full-on pop diva, Dance Fever is a generous offering to the goddesses of dance and restorative energy.

A Light for Attracting Attention bests The Eraser as Yorke's finest non-Radiohead effort and falls somewhere amongst A Moon Shaped Pool and King of Limbs in terms of scope and daring. As such, diehards should be quite pleased with this release: an utterly satisfying set of songs that stands tall on its own, yet could easily climb the ranks against any of Radiohead's late-era efforts.

One of the best chapters in an already impressive catalog; one that finds a new artistic depth as it faces some of life's eternal concerns.

Un Verano is not only a seasonal statement-piece but a testament to Benito's singular songwriting -- across genres, generations, and even languages, he works to produce enduring landmarks that trace universal joys, sorrows, and passions.

The resulting Blue Water Road is undeniably lighter and less fraught than the singer's previous LP -- and not without grief and tension -- and also has a continuity justifying the decision to stay on a forward course.

Van Etten isn't wallowing in melancholy, she's accepting the sadness along with the joy, using both emotions to push into a new stage of life. That sense of optimism, no matter how muted it may sometimes be, gives We've Been Going About This All Wrong an air of unguarded hope.

Despite -- or perhaps because of -- the difficulties Warpaint overcame while making the album, Radiate Like This is a quiet stunner and a very welcome return.

With Headful of Sugar, Sunflower Bean turn the pangs of growing up into hypnotic, intoxicating pop.

Endless Rooms is another strong outing from the group, definitive proof that they are still gleefully exploring their sound and are more than willing to take whatever approach is needed to put the songs across.

All these slight aural imperfections emphasize the extraordinary casualness of the gig. Young is loose but not sloppy as he plays songs largely unknown to his audience.

While not as immediately accessible as the all-star run of their first three albums, WE will at least be a course-corrector for fans still alienated by Everything Now and the underrated Reflektor, a satisfying journey that realigns the band's heart and soul.

The sisters continue to make a serene and highly appealing kind of pop music informed by their Afro-Cuban heritage.

Every bit as refreshing and even more insightful than her debut, Norwegian pop star Sigrid delivers another near-flawless effort with her sophomore album, How to Let Go.

Less obsessive fans might not see the necessity in seeking out more than one live recording from a window of time when a lot of Young's shows were fairly similar. Young completists will of course need to hear the clarity of this recording, and will appreciate the subtle nuances in every joke, slight variation in delivery, and minor shift in presentation that separate this show from any other.

Not just an escapist pleasure, Wet Tennis is a lasting statement that shines with pop-savvy expertise and marks a significant step forward in Sofi Tukker's musical growth.

An impressive project that brings illuminating new perspectives to their music -- and perhaps some more artists to their listeners' attention.

He launches into bristling pop-punk after the intro, and elsewhere offers honeyed hip-hop, convincing retro-soul, and a touching corrido, among other styles, refining his R&B-rooted bedroom pop throughout.

Clocking in at over an hour, there's enough here for all types of fans to enjoy and rejoice that the guys have returned.

Such an ambitious, border-crossing project can't help seeming overwhelming and messy, but the participants' glee and love of expression comes through loud and clear, and the whole experience is a rewarding one.

It's in the album's unlikely combination of weighty sentiments and cheerful (if especially diverse) sounds that Belle and Sebastian grow, offering up an honest assessment of what getting older feels like when you're one of the world's best indie pop bands.

Lady For Sale bubbles over with these kinds of inspired genre-mashing moments made all of the more potent by Kirke's swaggering, palpable sense of fun.

Written on a toy Casiotone, with fleshed-out productions later recorded in London with her co-producer and partner, James Howard, the album reflects those struggles more in lyrics than in its graceful, subtly underworldly, and frequently Baroque sound.

This is fun, thoughtful, expressive music from a man whose inspiration has yet to run dry.

It might scare off some of the fans drawn to the pop side of Toro, but for those who appreciate the subtle twists and turns of his early work -- and especially those who wish he had expanded on What For? -- this is Bear and band at their most exciting, most inventive. and most fun.

Bon Voyage was a kind of disjointed, disconnected masterpiece, Emotional Eternal is the flipside of the coin. Unified by acceptance and warmth, sung with wide-eyed, deep-down happiness, and played with a rich softness, it's a thing of beauty and that's forever.

As uneven as the album can be, it's never a simple rehash of Bloc Party's glory days. Adam Greenspan and Nick Launay's tight production gives Alpha Games a leaner attack than Silent Alarm, and while the moments of beauty that balance the band's outbursts are in shorter supply, they're all the sweeter when they appear.

Despite the fractured path to its creation, Two Ribbons is Hollingworth and Walton's most cohesive album yet. They've grown just far enough apart to be themselves, and they've come together to make something equally beautiful and meaningful.

Stately and almost elegant, Zeit is a haunted, pensive work that faces life's inevitabilities with an appropriate rage, heart, and sense of humor that only Rammstein can deliver.

The different sounds and scenes add up to a rich, complex album, one where Lambert finds the perfect blend of the writerly The Weight of These Wings and the breeziness of Wildcard.

Nelson's guitar and voice have intertwined and complemented each other throughout his career yet it's still a marvel to hear him find sustenance and surprises within his music, and that's what makes A Beautiful Time so rewarding: it's no small achievement that Willie Nelson is still deepening his artistry at the age of 89.

Older, wiser, and more ambitious than on her collegiate debut, Tomberlin finds a musical artistry on i don't know who needs to hear this… that rises to the level of her lyrical perceptiveness.

On LP.8, Owens draws from different, seemingly contradictory mystical energies, creating music that challenges and shocks as much as it soothes.

Less sonically aggressive than their previous album, Profound Mysteries still has something of an edge to it and its overall tone of ghostly enchantment makes for a strangely captivating listen.

Like his other albums, the music is all very beautiful, if somewhat ephemeral. It's hard to pick out a memorable melody among these ten poignant missives, which tend to run together in a bittersweet blur.

At times on their first album they seemed a little like a novelty band with their note-perfect retro approach, but here they sound like a serious group, the kind that breaks hearts and changes lives.

In addition to often sleepy and forgettable production, Leray's flow leaves much to be desired and even guests like Nicki Minaj ("Blick Blick"), Fivio Foreign ("Mountains"), and H.E.R. ("Overthinking") can't save the day.

Though it's not much longer than some of the group's EPs, Black Pearl's sustained mood of brooding mystery sets it apart, and its darkly lustrous songs uphold 50 Foot Wave's reputation as a vital part of Hersh's music.

His usage of stringed instruments, whether plucked or bowed, particularly gives the music a sense of intimacy as well as its distinctive character, to the point of establishing a signature sound. Much of the album is instrumental, with a few guest vocalists providing additional perspectives.

The overall effect is mercurial and uneven, but also fun and hooky as well as potentially cathartic -- especially for anyone who is over it.

Mahal and Cooder stay close to the originals, but whether faithfully evoking the sound and spirit of their mentors or using them as lift-off points for expansion, this glorious album honors their subjects with joy and swagger as well as devotion.

Making a joyous noise helps ease the pain of troubled times and that's precisely what happens here: the good and the bad intermingle like the past and the present, resulting in a lively, heartfelt record.

Everything Was Beautiful is delirious and exciting, a perfect distilment of the best parts of the band's various phases that feels reinvigorated and new.

While it isn't quite as consistent as Keepsake, its finest moments are some of Hatchie's most exciting work.

Giving such acute insight into Fontaines' headspace that it borders on uncomfortable. This is what they have always been best at though, bringing the listener into their world and showing them the darkest corners alongside the rays of light.

It all adds up to an album that slowly works its way into the subconsious, sounding deeper and richer with each successive play.

It's the first truly disappointing album that the band have released and the first where they sound like they are running out of gas instead of hitting on all cylinders.

This masterful release contains some of the most immediately appealing work in Eno's discography.

Keep your expectations properly adjusted and Spencer Gets It Lit will be an effective soundtrack to all manner of wild good times.

The mix of songs that connect with gently experimental sounds that low-key dazzle make for a winning combination and Together is another surprising slowcore triumph.

The words offer a lot of food for thought, but the music and arrangements are every bit as remarkable.

This could've been a cloying direction if it weren't for Night's sharp skills as a songwriter, the palpable chemistry of the Regrettes, and the sleek shine of the production, each contributing to the exuberance of Further Joy.

The sounds will be familiar (even comforting) to longtime fans, but there are so many unpredictable turns and head-scratching moments that Vile ends up taking his music somewhere new by approaching the same kind of songwriting he's been doing since he started from unlikely angles.

The quiet intensity, supernatural control, and disquieting character of his singing are all in full focus, adding mystery and longing to even the most benign lyric and making the highlights of Midnight Rocker rank among his best work.

Even when she's still working with high BPMs, James lets the tracks on this album breathe in a way that she doesn't on her other releases, making Whatever the Weather a standout in her rapidly growing catalog.

With such a vibrant canvas to rap over, its good to hear Curry come at the project with a refreshed pen game.

With this album, he's challenged himself to make something so personal and ambitious that it finds an audience precisely because it's so extraordinary. It's a challenge that anyone who's been a fan of his music in any incarnation should accept.

Though they've branched out over the years with plenty of success, El Mirador shows their roots are as strong as ever.

Second Nature steps firmly into a more mature adult alternative realm befitting the subject matter, without abandoning playfulness or high-contrast dynamics (or bandmates Dan Molad and Peter Lalish, who appear here) in the process.

More aesthetically modern and approachable than some of their other records, though no less potent, this is Kae Tempest at their best.

While Chambers and Teasdale are still discovering what they can do, they're having a lot of fun finding out, and Wet Leg more than delivers on the promise of their viral beginnings.

Fear of the Dawn isn't often a pleasant listen, but it wasn't meant to be: it's a dark adventure, an album designed to provoke and stoke fears, not to soothe them.

The lack of uninhibited gloating and easy-going funk grooves disqualify Broken Hearts Club from being considered Syd's most characteristic and definitive work. It could become the one that is most cherished -- a skip-less companion for listeners going through or getting over their first real love.

Staples goes even deeper into memory and self-reflection on Ramona Park Broke My Heart, presenting his pain, glory, and contradictory emotions in sharper definition while turning in some of his most engaging music to date.

Orville Peck's image as the glamorous and subversive masked man of country music still feels a bit gimmicky, but in the grand show biz tradition, it's a character that puts the spotlight firmly on a genuine talent, and Bronco is a glorious achievement that fulfills Peck's promise and then some.

On Familia, Cabello celebrates her family's journey and how it helped bring her musical dreams to life.

Hinting at more to come with a little more experience and practice, Growing Up is a heartwarming opening salvo that recharges the punk spirit for a new generation while recognizing, as they sing on the endearing title track, that "there's still a little more growing up" to do.

An impeccable blend of past and present, this is essential listening for indie pop lovers of any age.

Released six years to the day after Phife's death, Forever serves as both the final realization of his artistic statement, and a loving tribute to the memory of the artist himself.

Fans who fell in love with Tillman's sharp social commentary will find plenty to hone in on, but the lush sounds take some of the bite out of his clever barbs and cynical perspectives on love and connection. Even with the strong, considered design of his previous albums, Father John Misty has never sounded so pleasant.

While the songs themselves are more uneven, Pillow Queens' sound is fully formed, with tracks including opener "Be by Your Side" hitting on all cylinders.

He relates without judgment these possibilities for others journeying through this deeply troubled world, rendering I Just Want to Be a Good Man an outsider gospel masterpiece.

It's handsomely crafted classic rock played with flair, wit, and precision, elements that make familiar tropes seem fresh.

All of Widowspeak's experience feels channeled into The Jacket's poetic, poignant songs, and after more than a decade together, they're continuing to build one of the quietly great discographies of the 2010s and 2020s.

Set Sail is easily the band's most mature, far-reaching, affirmative statement. Making it even more indispensable is that it is as infectiously danceable as it is life affirming.

Fans of 2019's Happy to Be Here will be glad to know that the project's sound is tweaked, not redefined, with Lindsay making her vocals more distinguishable from plushy surroundings without compromising their wispy, daydreamy qualities.

Fast-forward a few years and that mid-fi, highly melodic sound [on 2018's Parallel Universe Blues] is fully intact on Past Life Regression. It's a little clearer, sharper around the edges, and less bathed in a kind of third-album VU haze.

Christian Lee Hutson manages to make you care about him and his life even as he artfully reveals his darkest side on Quitters, and while it's hard to tell if he thinks California really is beautiful or if he's one of the doubters, he tells his stories well enough that you'll follow this LP to the end as you try to figure it out.

The energy and inspiration are there, but as the band attempt to write more accessible material, some of the uniqueness of their past work is compromised. Still, you can't say that the album is predictable, and even if not every song hits, the band's exuberance is undeniable.

Biting the hand that feeds is one of punk's great traditions, and it's a relief to find Pup's shambling spirit unsullied by their present status.

Despite the overall trippy and feel-good nature of the set, there's enough for fans of any past era to find an entry point and enjoy the ride.

Ultimately, Immutable delivers the very essence of Meshuggah. While comfortable in their collective skin, they continue expanding their reach by obliterating -- hell, nearly swallowing -- metal's genre boundaries in their long, relentless search for the undiscovered.

The cathartic release is absolutely joyous on this stylish party album, a heaping dose of maximalist escapism from a quartet that just wants you to dance your cares away.

The record has a few interesting outlier songs, like the R&B-leaning Summer Walker duet "Difference Is" or the questionable country-trap experiment "Broadway Girls" with raspy hooks and twangy ad-libs by Morgan Wallen. For the most part, however, Lil Durk commands the flow of 7220 with emotionally complex lyrics that feel confessional and raw on more melancholic tracks like the Gunna-featuring "What Happened to Virgil" and out for blood on charged, confrontational moments like "AHHH HA."

These are recognizably Weezer songs, but they're livelier in execution, benefitting from a palpable sense of playfulness on the part of the band.

Like its three predecessors, Warm Chris blazes its own trail, and following along can sometimes feel like grasping at the last vestiges of a late morning dream. It's both compelling and confounding, like Harding herself.

An album that's trying to move forward and ultimately relieved things are ending, Tell Me That It's Over may not find Wallows any luckier at love, but they're a little older, a little wiser, just as catchy, and more sonically adventurous.

The creeping lurch and distressed fuzz damage of final track "Aurora" bring the likenesses and differences of previous phases of the band into clear focus, closing out Sonancy with a sound that could fit anywhere in the Loop discography but feels especially visceral, more dynamic than ever, and somehow new.

Humble Quest is a mature record in its approach in addition to its theme, a record that offers warm consolation in hours of trouble as well as breezy relaxation during the good times.

Ibibio Sound Machine have always sought to get listeners onto the dancefloor. Electricity reveals that they won't have to coax. Here, they have taken their songcraft, production, and rhythm science to an entirely different level without sacrificing their Afrocentric roots.

Jordan's willingness to allow us inside his head and witness his insecurities and inner dialogue alongside his rage gives this a depth few hardcore bands will ever reach. If you want your ears kicked, Soul Glo can do that like few others, but Diaspora Problems confirms that's hardly the beginning and end of their talents.

Benny's storytelling lyrics are hardened and aggressive as ever, but he balances out his tales of street dominance and underworld dealings with moments of honest self-reflection.

This band have maintained a creative vision that's served them beautifully, and their commitment to the power of dynamics and finding the details of a song by leaving room to ponder the details and textures has led them to write some great material and also find unexplored landscapes in the work of other tunesmiths. Songs of the Recollection captures them doing the latter with grace and intelligence.

Mainstream Sellout feels mostly like a middling attempt to further cross over into pop-punk, this time lighter on ideas and cohesion.

Labyrinthitis is another exciting step forward in Destroyer's never-ending evolution, delivering pleasant confusion and unexpected choices along with the kind of fractured but magical songwriting of which only Bejar is capable.

The overall downplaying of Camp Cope's more emo tendencies plays like a natural occurrence as they age into this satisfying new phase.

At a sleek 33-minutes long, Crash lets songs like "Lightning" -- an unlikely but winning collision of freestyle beats, giddy orchestral synth stabs, and processed vocals -- claim the spotlight they deserve. It may not be quite as striking as how i'm feeling now, but on Crash, Charli XCX once again finds endless freedom in pop's constraints.

Despite the overwhelming emotions, Never Let Me Go is an exercise in control and expert execution that finds Placebo on another level of songwriting and point of view, a welcome surprise at this stage in their careers.