The key to 3 is that the group might be less noisy, but ultimately they're no less weird, and if the album sounds like they're still making sense of their new configuration, their eyes are still on the buzzy prize, and this is a great, challenging, off-center rock album.

The Secret of Letting Go retains that balance of experimentation and pure feeling, and sounds perfectly at home within Lamb's discography.

Cohen's voice maintains the album's consistently floaty quality through these sparser tracks, making for a relentlessly dreamy set that's lost in thought and desire.

Unlike Kicker, which worked as a short, sharp blast to remind people the Kids were still around, Problems is the sound of the band figuring out how they want to sound in their new incarnation and pretty much nailing it.

For all its thematic focus and political commentary, Wheeltappers and Shunters is quintessentially Clinic; at once pointed and oblique, its bad trips and cheap thrills are a subversive rebuke to a sanitized notion of the past, present, or future.

While PROTO could be impressive for its groundbreaking nature alone, Herndon's meditations on the relationship between humans and increasingly sentient technology are moving and filled with a sense of wonder that makes a rewarding coexistence with AI seem more than possible.

Cerebral yet soulful, Any Random Kindness strikes an ideal balance for Hælos, a significant step forward in their evolution.

Racism and its side effects, from theft of culture and land to willful distortions and ignorance of black achievement, weigh heaviest on Woods' mind, yet her voice maintains a sweetness, unfurling like ribbon over the rhythms.

Ultimately, Young Enough outshines a promising debut, delivering a steady mix of summery earworms and angst.

Offenders and highlights aside, Here Comes the Cowboy might have been trimmed down to a solid EP or mini-album, but as a whole it just doesn't live up to the standards DeMarco set on his first three albums.

Pile hold on to all the anxiety and fury of youth here, but present their dissonant squalls with a mature, metered patience that just adds to the slow-boiling listening experience.

As a whole, 10,000 feels indebted to a particular school of '80s and early-'90s underground rock, but pleasantly so, and with its own bouquet of freshness and distinction.

Compared to the astonishing Konoyo, Anoyo does feel a bit like less focused variations on the same ideas, but as it stands, it's still an intriguing, otherworldly blend of ancient instrumentation and technological exploration.

Tacocat were a fun, sometimes great band before; This Mess Is a Place is their most consistent, most impressive, and best record yet and anyone looking for thoughtfully catchy modern guitar pop could do a whole lot worse.

Kimbrough's ease is that of a veteran musician, one who knows enough not to hurry or hit his points too hard. This light touch results in an alluring slow-burner of an album built upon a clutch of songs that slowly creep into the subconscious.

Human Question is the work of a powerfully good trio who've made it clear they are no ordinary roots rock outfit.

As Dreaming in the Dark's songs confront pain and choose love in empowering--and sometimes uncomfortable--ways, they reveal Tamaryn as a mature, fully formed artist.

Her weightier songwriting and expansive production make A New Illusion the match of Stellular and something more rewarding on an emotional level.

For fans this is the holy grail, but it's also an excellent introduction for the uninitiated. Not to be greedy, but let's hope this is not a one-off. We can never have too much J.J. Cale.

It can feel as if she's whispering secrets, but just when that gentleness threatens to get lulling, she scales great heights with elegance. These cannily deployed skills give The Front Porch the faintest hit of grit yet there's also a sense of fragility to the record; it's music that treasures the bittersweet melancholy of a moment that seems gone even as it's being lived.

Undress sounds and feels like the Felice Brothers, capturing their loosely tight charm in a manner that honors both sides of the equation, and is certainly an above-average release in their canon.

A more-than-promising debut, Useless Coordinates makes good on the potential of Drahla's previous work and suggests they're not done evolving.

Both celebratory and melancholy, this is an exceptionally strong album which effortlessly compels repeated listens.

Lofgren's originals may not carry the same swagger, but when they're surrounded by these Reed co-writes, they're given a slight lift: the whole affair simultaneously feels like an affectionate tribute to a departed friend and a resuscitation of Nils's gut-level rock & roll.

Graffin remains a potent evangelist of the punk idiom, and while there's nothing on Age of Unreason that would sound out of place on anything that came before it, the band's commitment to keeping the genre vital, both musically and lyrically, feels as necessary as it does timely.

While it's doubtful anyone is looking to Giuda for their depth of content, there is a bit of déjà vu to these ten songs which, thematic setting aside, sound very much like the band's first three albums.

Scatter the Rats is a triumphant return packed with odd comforts and familiar memories. Two decades later, L7 have aged quite gracefully, no matter how unfitting that word may be when describing this ever-raucous crew.

Emerald Valley isn't the slam dunk that Invitation was, but it's more than good enough to suggest this project has legs, and here's hoping the participants find time to cut a third album sooner than later.

Father of the Bride finds Vampire Weekend embracing change and delivering some of their most mature and satisfying music in the process.

By initially connecting at this gut emotional level, There Is No Other invites the repeated listens required to discover all of its mysteries but Giddens and Turrisi are by no means offering solutions: the more There Is No Other reveals, the more it becomes apparent that its depths are fathomless.

One might not have expected the Coathangers to still be making interesting music 12 years after their debut album hit the streets in 2007, but The Devil You Know reveals growing up doesn't have to be a bad thing after all.

Good at Falling is an extremely impressive debut LP from a songwriter who's more than proved that she's unafraid to delve into the melancholy parts of her past and wrap them up in dreamlike, atmospheric songs which are accessible for various kinds of music fans without ever sounding too saccharine.

Rap or Go to the League is a step forward in 2 Chainz's artistry, and reveals sides of his personality that were previously harder to see in the shadow of his enormous persona.

As the first offering of a new stage in her career, Love + Fear not only reveals its creator as newly hopeful, but it also gives hope that future efforts might be carved in a similar fashion. Marina's Electra heart still beats, it's just pumping smoother and with a confidence born from a renewed and mature perspective.

At 40 minutes, this is easily Q's leanest LP. It would be meaner with the removal of the inane Travis Scott collaboration "CHopstix," the uncharacteristic single.

The album is a treat to the ears. It's unmistakably in the tradition of soul and funk older than the artist himself, but could not have been made any earlier than the late 2010s.

Ultimately, Drastic Measures is more distinctive and memorable for its unique textures than things like melodies and grooves, although its more organized songs forms give them something tangible to adhere to.

It's bleak and brutal, but it's never suffocating, and it encourages reaction and resistance. There's even some light shining through during "Post-Scarcity Anarchism," when a much brighter, more hopeful melody emerges through the frazzled synths and piercing noise flares. A few ambient interludes somewhat dull the album's impact, but relentless, abrasive pounders like "Futures Betrayed" and "Quantum Unfolding" provide the bulk of the program.

There's plenty to dissect on Run Fast Sleep Naked, with subsequent listens revealing new layers and surprises. With this deliberate rebranding to a more authentic self, Murphy delivers a more genuine vision that is satisfying and brimming with imagination.

A foray into artful album rock for the band, U.F.O.F.'s shifts in presentation are subtle and seem wholly organic throughout. It's a record deserving of such an evocative title, which captures its dreamily impressionistic yet unsettling nature.

Her strengths as a storyteller play out over 11 well-crafted songs that alternately explore her own personal introspections or the twisting paths of those around her.

The only way that Lowly lives up to their name is their humility to push themselves to give more to their listeners--something they do exceptionally well on Hifalutin.

It's easily his best, most enjoyable work.

Throughout, the 400 Unit, specifically Amanda Shires, who provides soaring harmonies and some truly emotive violin work, adds considerable sonic heft to the proceedings, and help to imbue Ritter's workmanlike folk-rock narratives with the kind of studio finesse that sometimes eludes him when left to his own devices.

Far removed from the developments of the Teklife collective and other figures of the scene, DJ Nate stands out just as much as he did at the beginning of the decade.

While Rich's hyperconfident personality is in full focus, The World Is Yours 2 is elevated to a higher plane by its smart production and who's-who of guest rappers.

What's It Like Over There? sounds like Circa Waves are testing their longevity and aiming for a wider audience, and that's not a bad thing.

In League with Dragons is a quietly brilliant album that gets stronger with each spin, and the fact the Mountain Goats can generally crank out something this good every 24 to 36 months suggests Darnielle may be one of America's more important natural resources.

Life Metal is the dawning of a new phase for Sunn 0))), one that resonates with more power and complexity than anything in their catalog.

After a pair of impressively strong solo releases, Craig Finn has made it a hat trick with I Need a New War, and the passion and superb craft of these songs make this a must for anyone who cares about American songwriting.

Guest spots by Young Thug and the Weeknd inject some much-needed personality into Bad Habits, but it's not enough to save the album from its own blandness.

Despite the group's experimental inclinations, there are still plenty of hooky moments here.

Once again, King Gizzard deliver a record that lives up to their high standard even though it (mostly) is free from ambition and drama.

Mettavolution is the R&G record where all of their gifts are on display and in sync; it sends listeners on a holistic journey of musical discovery and emotional resonance.

It's fun to hear them spend time with the psych-pop of "She's a Rainbow" and get into the murk with "Dancing with Mr. D"--but it's not quite enough to justify a purchase for fans who already have these hits elsewhere. But for those who somehow don't have this music or are looking for a basic overview of the Stones' reign on album rock, MTV and beyond, this does the job.

While some songs might feel like B-sides and incomplete visions, the band works around these precious vocal fragments so well that listeners might not notice or even care.

A singular talent, Harding seems to have hit her stride on album number three, and while the darkness of previous efforts is still pervasive, Designer feels like a summer record, though it's probably best suited for dusk.

It all adds up to an album that cleverly feels stylish and fashionable without abandoning the emotional gravity P!nk has accumulated over the years.

Oh My God struggles to balance the austere with the earthly and would have been a better record with about four or five fewer songs. Still, though, it comes close to its ambitious goals of double-album greatness and the highlights represent some of Morby's most focused and wizened work yet.

Though France warded off rumors of a band breakup prior to the album's release, it's clear that Foxygen is moving on from the past in dramatic fashion with an album that's part formal complaint and part kiss-off.

They don't expand their horizons, preferring to stick to the hyper-charged British indie they minted with their 2014 debut, The Balcony.

With its mix of catchy and moving songs, an artful structure, and a way with words, Grim Town delivers a piece of Zeitgeist as well as a solid set of tunes.

Ambitious in a different way than the producer's earlier releases, Song Feel is every bit as close to the heart.

As far as concert albums go, Homecoming is a master class in technical prowess, crowd pleasing, and soulful substance. Channeling the spirit of African queen Nefertiti (whose image she adopted for this show), Beyoncé proved to be a ruler in her own right, lording over Coachella for two career-defining nights.

Considering the combination of such talents, it's a wonder that LSD is so good and so fun. While it might be too relentless for some, it's an experience to embrace and enjoy.

Saying Happy Now is the best album to bear the Gang of Four banner since 1995's Shrinkwrapped may sound like a dubious compliment, given how tepid much of their output has been, but this is taut, effective music that honors Gang of Four's heritage but succeeds on its own terms. Global crisis is good for something after all.

Despite its overall dreamy, soft-spoken approach, Invitation is often weighty, full of thought and longing as well as moments of wonder. It's an affecting mix, one that lingers and withstands repeat listens.

There's not a weak song or wasted moment to be found; the trio write with a lovely economy of emotion and have sharpened their hook-making skills to a very fine point.

No Wahala is an essential addition to any collection of continental African music in general and Nigerian music in particular.

In all, this is a solid debut full of well-written songs and plenty of attitude that delivers on the promise of her early singles.

The band show significant growth here on what is easily their most accomplished effort to date.

Fulfills all the promise of the debut and more.

It's the final nail in the coffin for their garage roots, but they sound rejuvenated and excited in their unbridled exploration of new sounds.

By making such a decisive shift in direction, CTE wind up dampening the squalls of White Stripes, Strokes, and Pixies that defined their first decade of records, but that change also emphasizes how the group are at heart pop-pastiche artists, favoring style and sound over a finely honed song.

While the subject matter may sound heavy, hard-earned lyrics are delivered throughout the album with a relaxed, affable tone befitting the group's twangy, sauntering indie rock.

While All Time Present moves through various moods and approaches, from Krautrock reenvisioned as rural guitar rock to floating ambience, it remains knowingly tied together by threads of dazzling playing and boundless exploration.

It feels like the turmoil of the late 2010s has galvanized Spiral Stairs into making his most direct and stylistically adventurous (which is a quite different thing than experimental music) music yet.

Epistrophy is a companion to Small Town, but it is also an extension of the intimate, communicative union shared by this duo in near symbiosis. Together they create a gold standard for live performance.

Wener treats the new Sleeper songs as a series of short stories, and that gives The Modern Age its true spine, helping it escape the clutches of nostalgia.

The Invisible Light: Acoustic Space is not comfortable to listen to but is nonetheless compelling, and arguably necessary.

An hour-long LP with little joy or even relief, one that is nearly static in energy level despite a carousel of producers.

V is a raucous, incendiary portrait of the band's maturity; it's creative and expertly crafted, an exploratory step further into an unknown that refuses to compromise or forsake its established sonic footprint or identity.

Glen Hansard has long been a gifted and effective vocalist and songwriter, but on This Wild Willing, he reveals a greater vision and intelligence in using the studio to give his music life, and it's an unusually strong offering from him.

Every track seems to hint at a grander version than what was delivered, but the loose ends and modest scale are alluring, since they appear to offer an insight into how this fiercely imaginative, quietly fearless singer/songwriter challenges herself.

Instead of distracting, Ribbons' tangents add to its masterful feel--at this point in Wilkinson's career, his music is so rich that he can bring any aspect of it to the fore in ways that feel equally natural and surprising.

Although it's only the first piece of the puzzle, on its own, Map of the Soul: Persona is a fitting celebration for a group at the top of their game.

It's a stunning debut.

The startling thing about Absolute Zero isn't that he's chosen to venture to the outer limits of his tastes, but that he's found the common ground between roots music, jazz, avant-garde, pop, and experimentation. It's this blend -- which is seamless, but quite dense, demanding the listener's attention -- that makes Absolute Zero seem to have depths that aren't easily fathomed.

The Hurting Kind stands head and shoulders above Beulah for its mature vision, powerful focus, and poetic songwriting and production. This is White's finest moment thus far.

Not every cut bristles with this sense of adventure -- there are still plenty of stark, plaintive ballads that provide the record with a sensitive, quivering foundation -- but by balancing their familiar backwoods brooding with fearless rock & roll, they've wound up with an album with a wild, twitching heart.

It's a record filled with good intentions but pitched squarely at the faithful converted.

While not a low in their catalog by any means, No Geography is also not their strongest or most memorable work to date. It's best not to call it a comeback, just another ample addition to their decades-long discography.

Ambitions is somewhat of a slow burner, but it's more cohesive and focused than meandering. Thomas has a masterful way of following his muse, and the album maintains a sense of spontaneity, as well as a casual demeanor, without sacrificing high standards of craft.

Brutalism showcases Pierce's knack for portraying the thrilling and terrifying sides of romance and juxtaposing joyous moments with devastating ones.

While they're too nonconformist to be a traditional punk band, they continue to define themselves as something more challenging and encompassing.

Martha's confessional and lovelorn themes fit perfectly in their revved-up pop framework. Love Keeps Kicking is a crystal-clear presentation of their powers, making equal space for the group's enduring stories of heartsickness, well-crafted pop structures, and blazing guitar work.

It Rains Love is a master class in the art of modern soul music from an artist who only gets better and wiser as he matures.

Although the songs were not conceived as an album and, therefore, don't carry quite the weightiness of some of the Jurado's most profound works, In the Shape of a Storm still seems essential as a showcase of his songcraft at its most elemental.