Full of smart nods to their pop inspirations, Field Music's Flat White Moon is a poetic and beautifully realized production.

Sweep It Into Space boasts some of the catchiest and most immediate songs Dinosaur Jr. has released since their reunion. There aren't many sharp turns or wild surprises, just a one-of-a-kind band doing what they do best.

Pale Horse Rider is lonely, lamenting, and distant but beautifully warm, marrying Hanson's love of psychedelic experimentation with a more cosmic take on country. It's more immediate than his sometimes-deranged earlier work, but never so straitlaced as to feel safe or predictable.

What might look and sound like merely another Stott album has the deepest well of emotion.

With this collection of poems, Lana Del Rey offers an alternate view of the sun-dazzled California dreaming that fuels her songs. Her spoken word pieces reveal a more immediate lyrical sophistication, but they maintain the strange and powerful magic Del Rey has been cultivating her entire career.

Californian Soil is a standout in London Grammar's catalog and a significant step forward in the trio's artistic maturation.

More transformative than dour, Head of Roses is a journey toward healing and marks another strong entry in Flock of Dimes' growing catalog of work.

Swift largely re-creates the arrangements and feel of the original 2008 album, yet her voice and phrasing has aged, giving the music a hint of bittersweet gravity. That said, it's only a hint; Fearless (Taylor's Version) serves the purpose of offering new versions that could be substituted for the originals for licensing purposes. It's to Swift's credit that the album is an absorbing (if long) listen anyway.

Haunting and expertly crafted, Playground in a Lake takes its place alongside Bibio's Phantom Brickworks and Loscil's Monument Builders as a beautifully destroyed sonic environment that provokes a powerful emotional response.

If In Another World doesn't quite feel like a classic Cheap Trick, blame that on the group's dogged adherence to their old blueprint; they follow it so closely that they don't allow room for adventure, mistake, or fashion. Maybe that means the album doesn't quite seem fresh, but it does hit its marks in a reliable, satisfying manner.

Technical precision and introspective lyrics mark this album as their most rap-centric project thus far, inspiring both concentrated head-nodding and the thrill of the rush as each emcee's verse impeccably weaves from one to another.

The pair find comfort within each other, yet they cannot shake the yearning for other people and places, a complex set of emotions that were quite universal during 2020 and 2021 and are richly conveyed on this soulful, searching album.

Lovato's frankness is disarming, forcing a listener to reckon with the depths of the singer's distinction, yet the album works best when it veers toward lighter territory, letting the slick R&B rhythms and sugared hooks carry Lovato's emoting.

Clamm's storm of cathartic energy disguises how intricately constructed the songs are and makes Beseech Me both exhilarating and engaging.

More Geddy Lee than Robert Plant, Josh Kiszka commands attention then alienates; his wail is the weak link in a group who is getting better at their period-accurate cosplay.

Made Out of Sound is their third studio album together, following 2018's acclaimed Brace Up!, and it's their most refined collaboration to date.

A few of the first names that come to mind with this sort of thing aren't here. Whether due to familiarity, licensing restrictions, budgeting, or taste, the exclusions are of no consequence given the depth and range of what's on offer.

While '70s and early-'80s pop informs all of Music, there's still something contemporary and deeply sincere in Benny Sings' songs. He's a quirky indie rocker drawing upon his vinyl heroes for inspiration and reassurance.

SPIRIT OF THE BEEHIVE make willfully unorthodox music and seem to dare listeners to keep up with them and make sense of their art, but those who make the effort are rewarded by the band's unbridled creativity and warped yet radiant sense of optimism and excitement.

Holley's observations are as powerful and poetic as ever, and White and his band simply sound out of this world, making Broken Mirror a spirited, magnificent collaboration.

Despite the lengthy dormant period that preceded it, As Days Get Dark is a perfect document of that beauty, offering a listening experience as chilling, nihilistically funny, and emotionally overpowering as anything the band produced before it.

The soft focus of Under the Pepper Tree is alluring, even soothing -- a record that could calm the nerves of frazzled parents as they put their child to sleep at the end of a long day.

Plugs 2 is a typically intense, lyric-heavy offering from the skilled emcee. Combined with Fraud's nostalgic, sample-filled backing, the short set feels like a time machine to the golden age, only updated for the 2020s with crisp and impeccable production.

Each one is more exploratory and/or less commercial than any of its counterparts. This is evidenced most strongly by the bleak post-punk electronics of Perfect Mother, whose "Dark Disco -- Da-Da-Da-Da-Run" convulses like an outgrowth of Throbbing Gristle or Cabaret Voltaire (and was previously excavated by the Minimal Wave label). Starker still and more alien is an alternately thudding and twinkling cut from R.N.A.-Organism.

La Femme's passion for seeking out new (or vintage) sounds to add to their omnivorous pop is contagious, and never more so than on Paradigmes.

While Homecoming is missing some of the eccentricity and intimacy that made Lung Bread for Daddy so powerful, its frankness and playfulness proves Du Blonde can give her music a pop makeover without losing what makes it real.

Gomez has grown significantly as a performer since her early Disney years and Revelación further underlines that transformation.

Walker may tip his hat to Chicago's experimental underground or prog behemoths like Genesis, but with this release, he's very much his own man.

They know exactly what they're doing, and the risks they take result in a debut album that brings a fresh energy to post-punk that's equally challenging and rewarding.

Many of the EP's six songs began as ideas while the band was recording The Main Thing, but instead of the crisp production and defined hooks of that album, Half a Human harkens back to the hazy dreaminess of the band's earliest days.

If the final track is an act of public mourning, the rest of J.T. is the loving and appreciative celebration Justin Townes Earle's music deserves.

Just as it seems like it's about to spin out of control, the band regain focus and add strings that shift it closer to a vaguely country-ish lament, then end the suite with the sounds of distant explosions. ... On the second suite, wayward drums and haunting strings tumble like a ship rocking from side to side, then the group locks into a steady, churning rhythm, slowly getting heavier and hotter until it all seems engulfed in smoke.

With Kids, Erez makes a significant leap forward from Off the Radar. Though she still sounds like an outsider, the skill she displays on these songs suggest she shouldn't be one for long.

Altogether, The Bitter Truth carries listeners on a journey both familiar and fresh, recapturing the heavy-yet-melodic hallmarks that made Fallen one of the most successful albums of the 2000s and pushing Evanescence into the future with a graceful maturity and worldly perspective.

Embodying hard times as well as the way friends lift each other out of them, Oh No also exemplifies the drama, mystery, and deeply felt emotions that have made Xiu Xiu a vital musical force for decades.

Is 4 Lovers one of Death from Above 1979's most balanced and stylistically engaging albums.

More soothing and fulfilling than thrilling, Deacon revolves around the idea that love doesn't have to be a burden. It's a realization that serpentwithfeet transforms into a beautiful, fully realized work of art for his audience to savor.

The trip is well worth completing despite Sanders' early exit.

This is more modest than monumental, and that small scale is appealing in its own right.

While Rose's music certainly has indie crossover appeal, in the grand tradition of classic country, How Many Times is a relatable pick-me-up for those who may be feeling down.

tUnE-yArDs haven't sounded this infectious since Nikki Nack, and Sketchy. captures the inflection point where frustration becomes positive action in funky, happy, angry, and inspiring ways.

The upshot is that Justice is one of Bieber's steadiest releases, among the easiest to play from start to finish. The only overdone aspect is the low self-esteem and unworthiness the lyrics either suggest or flatly express in almost every song.

The final two tracks are a well-deserved comedown from a truly thrilling, energetic sequence.

On the whole, Green to Gold reshapes the Antlers' once somber and brooding chamber pop into something bright and smiling. The songs strip away the sharpness and volatility the band reveled in on earlier albums to reveal a pleasant glow that was all too often hidden in the shadows.

Collected, the songs are simultaneously familiar and surprising -- a blend that always was among the chief attractions in Cornell's work -- and while there are echoes of the original recordings here, he shapes each tune to fit his voice and contemplative bent. The inherent power in Cornell's voice can still be heard, but what lasts is the passion and intelligence, emotions that make this a bracing if bittersweet experience.

Notes with Attachments is a strange record, but it is also welcoming thanks to an unhurried pace, colorful yet economical production, and restrained dynamics, all carried by the canny, warmly humorous musical instincts of its creators.

Fun, wild, and addictive, The Lunar Injection Kool Aid Eclipse Conspiracy builds upon 2016's already-impressive Electric Warlock and winds up being one of Zombie's best.

While the materialism and egocentrism in some of the tracks no doubt clash with the film, matters such as survival, self-defense, and power are more frequently raised. Critiques of issues related to white supremacy, from police brutality to voter suppression, aren't far behind.

The album's 17 tracks address subject matter including breakups, grief, and struggles with mental health with a mix of pop, R&B, and alternative stylings and song titles like "Good in Goodbye," "Sour Times," and "Stay Numb and Carry On.

What's striking about the compilation is how a roster as diverse as Eric Clapton, Shaggy, Mary J. Blige, Annie Lennox, Herbie Hancock, Sam Moore, and Julio Iglesias doesn't sound especially eclectic; when the common denominator is Sting, all the guests adapt to his particular ways.

Consistency is a virtue in this case: maybe Starr does little more than deliver what he promises, but he does deliver, and that reliability is a comfort in times of uncertainty.

More rankled moments include the circular anthem "I Don't Care" ("I gotta do what I want to"), but these are outweighed by hard-won gratitude and affection on a set that above all delivers on big hooks.

Great Spans of Muddy Time makes for an immersive, profound experience that will reward repeat listens.

It can all be a bit much at times, but this all-in approach to creativity has been VanGaalen's M.O. from the start and his talent remains something to behold.

With Chemtrails Over the Country Club, Del Rey shows her softest moments can be her most powerful.

As a whole, Freedom Fables is a beautifully integrated, physical approach to song and narrative; it's a musical adventure as substantive structurally as it is enjoyable viscerally.

A standout among her already impressive catalog, The Moon and Stars is utterly beguiling with a luster that only deepens with repeated spins.

It's hard to tell what Smerz are going for on this perplexing mess of an album, but there's clearly a lot of potential to their ambitious fusion of modern classical, R&B, and experimental club styles -- they just haven't made their vision clear yet.

Road to the Sun showcases Metheny's developed musical hallmarks in compelling new and bravely wrought compositions, expertly performed by kindred spirits and modern masters.

77-81 is a brilliant testament to their visionary impact and lasting importance.

If the format doesn't seem as fresh as it did back in 2016, when Full Circle was the first record released from the sessions, that's only due to it being the fourth in a series of albums. On its own merits, Still Woman Enough is strong and vibrant, a testament to Lynn's enduring gifts and place in the firmament of 20th century country music.

There's never a sense that Lake Street Dive are preaching with heavy hands, and cuts like the bluesy "Hush Money" and the lyrical "Nobody's Stopping You Now" have a universally relatable feeling. That they also evoke the classic album-oriented work of artists like Fleetwood Mac and Carly Simon speaks to Lake Street Dive's ever-deepening sense of songcraft.

If The Pet Parade doesn't break new ground, it does offer comfort and compassion wrapped in a honeyed, effortless indie folk that honors the project's now-long tenure.

Tighter than So Good and packed with just as many catchy tunes, Poster Girl is yet another big step forward for the artist, adding a dozen fresh anthems to her catalog and maintaining her position as one of Sweden's finest pop exports.

Even at its most bizarre and feral, Pick a Day to Die conveys a sense of positivity and excitement as the collective remains in the constant state of rediscovering themselves that they've made their life's work.

Future Times is a meditation on an uncertain era, and while it gets uneasy at spots, it takes solace in the healing powers of nature and remains optimistic that goodness will prevail.

Not every collaboration is as strong as the sum of its parts, but Painted Shrines is a wonderful example of two like-minded artists bringing out the absolute best in each other.

These 13 has little to do with Mathus and Bird recalling past glories, and much more to do with the beauty and mysteries of the music of the American South. Anyone who wonders why they love this stuff so much need only listen to this splendid album to find all the answers.

Younge's spoken parts function as interludes, side commentaries, and supplemental statements related to a balanced mix of vocal numbers and instrumentals. The cuts with minimal or no vocals are poignant even without considering titles like "Dying on the Run" and "A Symphony for Sahara." Those that more prominently feature singers Loren Oden, Sam Harmonix, and Chester Gregory are filled with riveting moments.

Angel Tears in Sunlight, her final album, continues in the same expansive, unconstrained mode as her earlier work but explores different tonal realms.

Flock is the work of a daring artist, a crafty writer and performer, and someone who is always worth following to see what kind of great things she might do in the future.

IAN SWEET's most consistent set of songs to date.

The moody stateliness of When You See Yourself showcases their knack for building melodrama. The downside to this gift is that the album can seem like an interconnected piece, not a collection of songs. Individual tunes don't float out of the ether so much as fade into another handsome moment that's distinguished by production flair as much as it is by melody or hooks.

What sets Start Walkin' 1965-1976 apart from earlier comps from Rhino and Raven is that it's not strictly a hits collection. ... Instead, Start Walkin' 1965-1976 focuses on the stranger numbers within Sinatra's catalog -- hazy, symphonic psych-pop written and produced by Hazlewood. ... They help make for a convincing portrait of Nancy Sinatra as an idiosyncratic artist happily working within the confines of L.A.'s lushest studios.

Even without the conceptual framework, Harlecore is a briskly entertaining look back -- and forward -- at some of EDM's fizziest, gaudiest sounds.

In its amorphous flow and stately pace, In Ferneaux is a little less immediate than some of Blanck Mass' previous music, but its fully realized, cathartic musical journey is just as powerful.

Artful, delicate, and mesmerizing throughout, the album's subtle, gradual suspense may find some straining not to miss a moment.

He openly draws from history but situates his original music expansively in the here and now; his many stylistic referents combine in new ways to offer a stubbornly holistic, emotionally resonant, and visionary approach.

Poised somewhere between elegance and ferocity, All Bets Are Off is an exciting debut from an artist who thrives on the unexpected.

It's a buoyant sound that brings to mind a vibrant mix of artists like Deee-Lite, Greyboy Allstars, and Stereolab. Vocally, Murphy has a stylishly flat resonance that evokes iconic singers like Astrud Gilberto and Nico. It's a perfect fit for the duo's vintage-inspired recordings that wouldn't sound out of place pumping from a car stereo at the beach in 1970s Rio de Janeiro.

Way Down in the Rust Bucket isn't one of the more revelatory items to emerge from Neil Young's archives since he began major excavation in the mid-2000s. However, for those who consider the joyous stomp of Neil Young & Crazy Horse rock & roll comfort food at its best, this is a feast to savor, a long and rollicking celebration of the pleasures of turning up the amps and inviting in the spirit.

Maxïmo Park remain unabashedly heartfelt, and by staying true to this on Nature Always Wins, they deliver some of their finest songs in a while.

The synthy, downbeat direction they chose may not be the most thrilling option, but the band make it work thanks to their musical vision, the wonderful voices of Merve Dasdemir and Erdinç Ecevit, and the fact that nobody else around is making music quite like this.

It's not just a follow-up to their first mildly disappointing venture, it's a bracing reminder of just how thrilling King Gizzard can be at their peak.

Listening to Dylan lead these groups through a loose rendition of Harry Belafonte's "Jamaica Farewell," an extended, almost funky jam on "Long Black Veil," a friendly boogie through "Matchbox," and competing versions of Jimmy C. Newman's Cajun country stomp "Alligator Man" is a hoot, plus there's something almost touching in hearing Bob tentatively sing Paul McCartney's "Yesterday" on the same session where Harrison jammed. Nothing major, then, but the modest pleasures of 1970 are certainly worthwhile.

This is not a straight-up electronic record, nor does it resemble the polyrhythmic Afro-pop confections the Atlas Mountains have become known for. Instead, Marry has crafted a more personal and cohesive pop album with an engagingly homespun feel that is quite refreshing to listen to.

Willie sounds younger here than he has in years. He seems to be singing with a smile, as buoyed by his band as he is by these standards, a quality that gives That's Life an endearing kick.

Their music is evolving in sync with their technology, and AAI presents a bold challenge to conventional notions of creativity, authenticity, learning, and emotion.

By revisiting their past, Cloud Nothings find something new in it, as well as something timeless, and The Shadow I Remember is a full-throated, full-hearted triumph.

All the songs carry the weight of themes already present in the improvisations, however, making for an even more poignant second album by a project that continues to stand out from the melancholy indie crowd.

The melodies go exactly where you want them to, as do the emotional beats, resulting in a lovely travelogue that avoids steering down any seasonal roads, and in doing so quickly fades from memory.

Even with the quick-shifting styles, the emotional charge of the songs and Mulherin's distinctive songwriting sensibilities expand nothing,nowhere's range and keep the album from devolving into a scattered mess.

Since it's inextricably linked to the eponymous movie -- which generated plenty of controversy and public outcry for its portrayal of a non-verbal autistic woman by Sia's longtime public stand-in, neurotypical dancer Maddie Ziegler -- MUSIC might suffer from that burden of connection, which is a pity because it's actually quite good.

The music easily stands out on its own, even without the choreography and high-res video projections.

With nothing to prove and never having seemed too concerned about impressing anyone, the Melvins continue to take their wild-eyed chaos anywhere they choose -- Working with God goes to some places that are strange and unforeseen even for them.

Despite the bigger sound on average, however, Baker's brutal lyrical authenticity remains the main attraction.

Detroit Stories is stuck in a confusing limbo somewhere between tribute to Detroit and another album of the kind of campy, theatrical, radio-geared hard rock Cooper has been turning in since Hey Stoopid. Never quite committing to either concept, Detroit Stories ends up feeling like a handful of solid covers of classic Detroit tunes with some Alice Cooper extras thrown in at random.

For Neale, the grainy imperfections and surreal experiments of Acquainted with Night open her songs up to an unforeseen world of solitary beauty and personality, where the clean, professional sound of earlier work rendered them a little bit anonymous.