Only Love From Now On is a beautiful and satisfying culmination of everything she's done so far.

"Teeth Out, Pt. II" is even more purgatorial, proving that Miller and Kuperus don't need beats to sound formidable. It all makes Becoming Undone one of Adult.'s most harrowing albums -- and all the more impressive because of it.

This is the kind of music only a tiny handful of people are ever fortunate enough to witness, and Forever on My Mind allows us to share that rare privilege.

The Cactus Blossoms remain a proudly low-key affair -- the focus remains on the harmonies of brothers Page Burkum and Jack Torrey -- but the small, telling details help turn One Day into a warm, enveloping listen.

It'll take at least a full listen or two to adjust to the album's structure and arrangement. Once it clicks, it's a truly unique, engrossing experience that plays with one's perception of memory in relation to music, somewhat reminiscent of the Caretaker's work, but far from its sense of romanticized nostalgia.

Not unlike the late Emitt Rhodes, there's some of the cult classic singer/songwriter in Ivey's overall vibe, which seems built for a smaller but deeply devoted arena.

Their formula hasn't coagulated yet, and the subtle changes to their sound mark a well-timed soft progression for the group.

Although Jacob's Ladder is one of the more idiosyncratic albums in Mehldau's discography, there's enough sophisticated and delicately rendered piano work here to appeal to his longtime fans.

Re-emerging after a nine-year gap, their fifth album, For the Sake of Bethel Woods, retains some of the progressive experimentation of its predecessor without losing sight of its sturdy core of songs. In producer John Congleton, Midlake has found a worthy foil and he helps imbue highlights like the gorgeous "Feast of Carrion" and "Meanwhile…" with a sense of elegance and mystique.

The next best thing to sitting in on a Sonic Youth jam session, In/Out/In distills the band's essence so brilliantly that fans will fall in love all over again.

Motomami is as provocative and risky as it is creative. It showcases Rosalía as a master, twisting together the contradictory strands of Latin and Anglo pop with traditional and vanguard forms and fresh sounds into a gloriously articulated radical approach that makes for obsessive listening.

The Alchemist's instrumentals are fluid and bubbling over with unexpected sound combinations, and the inspired nature of Curren$y's performances comes through even when he's at his most laid-back.

Though known for her Ella Fitzgerald-esque skill at interpreting songbook standards and French chanson, Salvant has proven herself a literate and nuanced songwriter in her own right. She brings all of these aspects together yet again on Ghost Song, this time adding in more contemporary cover tunes and other folk traditions she hadn't yet explored.

Despite its generous track list, Hits to the Head never drags -- like Franz Ferdinand's music as a whole, it's very listenable and a lot of fun.

Alienating and cathartic at once, Island Family ends on the collage-like tech satire "Remote Control" for a shared cabin fever experience.

It's easy to wish all four members had been able to work together again, but having the band back in any form and operating at such a high level is a dream come true for all Boo fanatics and should be a nice discovery for younger fans looking for some classic OG dream pop.

EarthGang's rapping could often take a backseat to their grandiose production and arrangements, but Ghetto Gods balances quality vocal performances and detailed instrumentals.

2 Chainz simply doesn't sound as inspired as he normally does, as this short set lacks the madcap wit and energy that flow throughout previous albums of much longer duration. A recharge and change of direction clearly seem necessary.

Raum feels a little bit more like a transitional work than the unexpectedly solid Quantum Gate, but that album seemed like more of an overt revisit of the band's classic sound, while Raum finds them taking more chances and exploring fresh ideas.

Impera is the most unabashed exercise in exultant pop/rock sheen Ghost has issued to date; it establishes an exquisite front in their own quest for global rock domination.

On songs as different as the poignant protest song "Freedom" and the title track's winding musings on existence and creativity, it's both comforting and thrilling to hear Hval breathe life into the everyday so fully.

It makes for a fine second album from a band that could have easily been nothing more than a one-trick pony.

Allhallowtide is another fine example of how Bid and his band are experts at the form. They have been doing this for a long time, and for the past decade there are few bands who have been doing it as well.

Thankfully, all of Who Cares? sounds exactly like Rex Orange County coming into his own.

It's all in good fun, and there are some definite highlights, but Magazine 1 is more of a nostalgia exercise than a genuinely remarkable album.

"Right 2 Left" (with Melé) constructs a tribal house banger using a sample of Busta Rhymes' "Dangerous," which ends up being a good idea, although it feels somewhat unfinished at only two and a half minutes. Still, the mixture of proper hits and slight experiments makes for a well-rounded album, and Diplo contains some of the jet-setting producer's best work since the Hollertronix days.

The home-brewed spectacle of this album makes it easy to visualize CMAT tackling bigger stages in the future. It's a witty and thoroughly delightful debut.

She's added new ideas that make this music feel like a metamorphosis; transforming herself into an artist who has thrown off any generic frameworks that confined her in the past.

Easily Conway's most impressive work to date, God Don't Make Mistakes is a culmination of everything he's experienced and achieved so far, and a bridge to the next phase of his life.

Bulat's melodic, folk-leaning tendencies as a songwriter lend themselves well to this kind of makeover, one that adds a touch of elegance to nuanced vocal performances, if rarely improving upon the original recordings.

If PAINLESS is less ambitious and attention-grabbing than her debut, it sees Yanya makes strides in being more affecting.

For all of its incendiary music, furious soundscapes, and rhythmic madness, Pray for Me is beautifully produced, mischievously strategized, and expertly performed.

Stripped of some of their later sonic ambitions, Band of Horses play to their strengths here on what feels like a solid return to form.

A worthy follow-up to Ignorance and an accomplished work in its own right, How Is It That I Should Look at the Stars makes the most of Lindeman's softly insightful powers.

Perhaps cloaking her personal experiences in the guise of a fictional narrative allowed Parton to allude to her past in this fashion, but no matter the inspiration, these moments are the grace notes that help make Run, Rose, Run a satisfying listen on its own terms.

Track for track, Crown is flawless, the most consistent, musically ambitious, and satisfying album Gales has delivered in a long time, if not ever.

Strictly speaking, there are no surprises or detours within these 16 tracks, yet it's unexpected to hear Marr maintain his drive through a full double album without lagging. He sounds in full command of his craft, and that's a pleasure to hear.

As with every Guided by Voices album, fans will find some songs excellent and some unmemorable, but Crystal Nuns Cathedral's steady approach and considered construction make for more keepers than duds, and one of the band's stronger entries.

The unexpected touches, such as Glasper's own drunk-funk drums on "Shine" and the Theo Parrish-like beatdown house gait of "Everybody Love" (featuring Musiq Soulchild and Posdnous), are as welcome as the familiar ones.

Another step in the direction of propriety may have been one too many, as it stands Backhand Deals slides right into the corporate power pop timeline with just the right amount of vim and vigor.

It's hard to see why most of this album exists beyond letting Ashworth explore and recreate two kinds of music she obviously loves to distraction. Whether anyone should follow along on her quest is up to their tolerance for sift rock platitudes and hard rock cliches.

These are exquisite productions where Le'aupepe's rich, throaty baritone is framed by wiry bass lines, artfully arranged orchestral sections, and spiraling guitar accents. There's a frankness to Le'aupepe's lyrics, as if he's talking directly to you. Yet, even in his most earnest, off-hand moments, he finds poetry.

The focus on deeply intuitive, sophisticated improvisation integrated with Luthert's instinctive, tasteful electronics is welcoming, adventurous, and abundantly creative.

After a decade of artistic exploration and soul-searching, the self-proclaimed "motherf*ckin princess" has reclaimed her pop-punk crown.

This set is a classic-sounding Tears for Fears record, one that makes the listener take emotional, spiritual, and mental inventory of their inner world even as the one outside roils with trouble, violence, and madness. Welcome back gents, we've missed you.

For listeners who miss the simpler early days, All the Truth That I Can Tell is a treasure trove of comfort and familiarity, an utterly relatable collection of growth and hope tempered by the starkness of reality.

Timewave Zero might be a far cry from Blood Incantation's best-known work, but it truly rewards the open-minded listener, and is simply a fantastic ambient album in its own right.

While As I Try Not to Fall Apart probably won't pull in any new fans, it has a sultry, back-of-the-club intensity that speaks to White Lies' ever-deepening artistry.

Everything Was Forever not only shows they're still in strong form, it's as bold and inspired as their best work.

Segarra has wound up with a distinctive album, one that operates equally skillfully on an emotional and intellectual level.

Because of its lack of vocals, The Patience Fader sounds a bit more open and free than A Son, and somehow manages to say more with less.

It all comes together as a beautiful and honest reflection on self-acceptance and the passing of time. Bell invites us into the deeper reaches of his perpetual but ever-evolving dream state, and in the process creates some career-best highlights.

If Sarah Shook has evolved a bit as a person on Nightroamer, as an artist they're as articulate, as fearless, and as smart as ever.

The result of this envelope-pushing is one of their most nuanced and emotionally engaging albums in years, arriving at a different kind of immediacy than can be achieved with loud guitars and angsty hooks.

Cathartic and confident, Prey//IV releases her pain with a diamond-like strength and clarity that is entirely her own.

Sad Cities is the best kind of comeback album; one that has just the right amount of nostalgia baked into the grooves, but also adds in new sounds and approaches. Shapiro and Agebjörn certainly do that and the album is a reminder of just how good heartbreak disco can sound when delivered by people who understand it so well.

Released almost exactly two years after that EP [Texas Sun], Texas Moon is spacier and a little moodier, and Bridges' writing this time gets as personal and spiritual as it does in his solo work.

The sense of low-key but heightened melodrama can be alluring thanks to the open-ended arrangements, yet much of Manticore unfolds at a crawl, so it feels much less visceral than previous Shovels & Rope albums even if it has a greater emotional range.

Ocean Child is a fitting tribute to an artist who's challenged herself and her audiences for the entirety of a lifelong career, and inspired entire sects of music in the process.

Writing happy songs that aren't annoying is a tall order, but Mount and company pull it off with enough flair to make Small World a satisfying microcosm of Metronomy's music.

If that album [7] expanded the idea of what Beach House could sound like, then Once Twice Melody fills in that idea with colors both familiar and new.

Mature and focused, The Kick is a welcome return from Allen, a refreshing and ebullient collection that balances emotional introspection with pure physical joy.

Krüller is one of the most accessible-sounding Author & Punisher releases, but it's still vast and uncompromising.

Rashad sings with restraint the whole time, giving each line an air of secrecy and/or seduction -- almost as if he's self-conscious about breaking an unreasonable noise ordinance. The approach is fitting, with Rashad riding just above the warmly reverberant grooves and background voices to heady effect.

Perfect pop for perfectly sad people will never go out of style, and Summer at Land's End is more proof that Glenn Donaldson and the Reds, Pinks & Purples have the market pretty much cornered.

Their compositional creativity is at once complex and sophisticated while remaining inherently accessible. They match a ferocious appetite for muscular musicality with intricate attention to production details and rigorous energy.

The bottom line is that this 14th proper album of hers combines nuanced performances and succinct writing like none other.

The choruses are delivered in joyously emphatic unison. If there is a complaint about Cold as Weiss, it's that at 40 minutes, it's a tad short, because no one wants this dance party to end. (If you do, please check your pulse, you may have expired.)

On a strictly musical basis, Earthling is the most varied project Eddie Vedder has ever released, and it's also his lightest album: there's a palpable joy to his free experiments here that's infectious, even fun.

Their best since 2014's This Is All Yours, The Dream finds Alt-J in top form. Despite being so lyrically death-obsessed, the beauty and warmth coursing through the album make it full of life and absolutely human.

Once again, Spoon show there's still plenty of mystery left in classic sounds, and they're still experts at revealing it.

While its seeming contradictions make it a slightly more challenging listen than Shamir was, Heterosexuality acknowledges how complicated just existing can be with the wit, creativity, and unguarded emotions that have been a vital part of Shamir's music since the beginning.

Several tracks ("heavy," "heartbreak3r," "regret") follow a similar emo-rap style, but On to Better Things gets more interesting when Dior commits fully to exploring different approaches.

The powerful, sometimes writhing, and often transcendent sonic landscape the band creates here is their most inspired work to date, brimming with purpose and assertiveness that goes beyond mere entertainment and reaches for enlightenment.

It seems unfair to call DNWMIBIY a failed experiment, as it's loaded with gems -- including some of Big Thief's most free-spirited work to date -- however, it lands much more like a showreel than a plotted album.

The Highest in the Land may not be the strongest Jazz Butcher release, but it certainly has enough frothy treats and swooning bits of heartbreak to remind everyone why they -- and Fish -- were so delightful.

As far as Punch Brothers albums go, Hell on Church Street is a bit of an odd bird in that it's an album of covers chosen by someone else. As a nod to Rice, however, they honor his spirit well enough.

Even though A Place to Bury Strangers have been bringing the noise back to shoegaze and post-punk for years, they're still finding new forms of expression. That they can create a career peak like See Through You two decades after forming makes them all the more inspiring.

Clocking in at just over 37 minutes, Dissolution Wave doesn't overstay its welcome, which helps to absolve it of some of its more directionless moments. However, even at their meandering, Cloakroom manage to compel, and their seismic heft and majestic layers of sound do all they can to counteract the weightlessness of space.

The band seems to play as a single multi-armed unit, and yet Wood's tortured voice is at the very center of their palette. Black Country made a strong impression on their debut, but things become much more interesting with Ants from Up There.

At times Give Me the Future feels a bit heavy-handed. Fortunately, the album's brisk pace saves it from feeling overblown. This is music for and of its moment, with a mix of ambition and pop concision that's unmistakably Bastille.

The hit of serotonin for longtime fans is an absolute joy. Against the odds, Korn have done it again with Requiem, a quick and ferocious blast that finds the band still hungry and innovative nearly 30 years into the game.

A bit of a slow builder with an almost cinematic trajectory.

The dense and shrouded nature of this album means you sometimes have to wait for the clouds to clear before certain lines resonate or choruses grab you, but once they do, they don't let go.

If formulaic in approach, cosmopolitan rhythms and trippy hooks vary, and any track or combination of tracks on the album is well-suited for front-of-house play or for a soundtrack to get the party started.

Second album Glitch Princess is more futuristic than yeule's past work and perhaps more dystopian as well.

It's an especially lucid reading of the sound they've been perfecting for over two decades at this point, and one that adds a human warmth to a group that's long been defined by their otherworldly nature.

The 7th Hand is a major work. It travels dazzlingly from tranquility and comfort to ambivalence, restlessness, and impatience before it engages re-entry, rebirth, and transcendence. This band understands that Wilkins' bold question may be unanswerable, but they play as if they know.

Listening to Good and Green Again is like visiting a warm little den where the songs of yesteryear spend an easy hour catching up on the news of the present. His is a peculiar gift, but one he's learned how to use to great effect.

The track sequencing is skip-proof. This and the film belong in every library on the planet.

Sees the group shift away from the more anthemic direction of their major hits ("Love Killa," "Gambler") to an airier, more vocally driven set of songs: strummed-funk tracks like "Tied to Your Body" and "Blow Your Mind" pull heavily from Justin Timberlake's early-2000s run, while others like "About Last Night" and "Better" slide toward the nostalgic disco yearnings expressed by their 2010s contemporaries.

DS4 is caught between the woozy, floating sounds of WUNNA and an older, heavier-hitting sound, yet nails neither.

Still in command of strong technical skills and now rapping over instrumentals crafted with bigger budgets, Cordae falls short when he starts sounding a little too comfortably at home in the mainstream.

If Good to Be... sometimes is a little too cozy -- it's executed well and its unifying spirit is evident, but a cover of "Lean on Me" still feels a little overly familiar -- it's nevertheless a warm, welcoming album that's every bit as soothing and comforting as Keb' Mo' intended it to be.

The subtle shifts in tempo and arrangement make this brief record feel fully realized: these are renditions that are deep and soulful, carrying the same richness of Cobb's secular material while having a palpable spiritual undercurrent.

Extreme Witchcraft isn't a big basket of musical sunshine, but it's been a while since Eels have made an album with this sort of muddled joy, and it's a welcome development from one of pop's major misfits.

It's the duo's keenly observed originals that stay with you the longest, delivered with hard-won wisdom, gallows humor, and the near-supernatural fluidity of sisterly harmonies.

John Mellencamp embodies the stubborn independence of an artist who unquestioningly follows his heart and his muse, and Strictly a One-Eyed Jack is the work of a man accepting the passage of time rather than fighting against it. As a songwriter and a performer, it's a gambit that works in his favor.