ScHoolboy Q flexes just how easy his craft is for him throughout Blue Lips, switching his styles without blinking while telling some of his most difficult truths.

While it's tempting to say Have You in My Wilderness is her most personal music yet, it might be more accurate to say that it's her most approachable: this time, her brilliance demands a lot from her listeners, but also meets them more than halfway.

Throughout the album, the band sounds wise beyond its years, so it's not really that surprising that Fleet Foxes is such a satisfying, self-assured debut.

While this is easily the most loaded Monáe album in terms of guests, with Brian Wilson, Stevie Wonder, and Grimes among the contributors, there's no doubt that it's a Wondaland product. It demonstrates that artful resistance and pop music are not mutually exclusive.

This borders on sorcery.

This is a ferocious album that's not afraid to be genuinely beautiful. One of the best hard rock releases of 2009.

Along with delivering the abundance of colors, moods, and first-rate songwriting expected from a Bill Callahan album, Ytilaer is more exciting and engaging than his music has been in some time. This is how an expert singer/songwriter captures the tenor of the moment: with songs of timeless quality.

GNX is a pillar of reflective realness, a flag planted in the lineage of Black musical visionaries, a silhouette of the West Coast in the high beams of fame -- and Kendrick's most speaker-knocking set to date.

The sweetness is almost too gooey, and what should be providing a healthy contrast ends up dragging the best instrumental moments down more than once, almost literally getting in the way of the striking sonic collages. It may be heresy to some, but conceivably Person Pitch would be at its best if it were strictly instrumental.

Prior to this album, we were more than aware that West's stature as a producer was undeniable; now we know that he's also a remarkably versatile lyricist and a valuable MC.

Twin Fantasy leaves no doubt that Toledo is a strikingly gifted and thoughtful songwriter who also has a firm grasp of how to make his material work in the studio, and isn't afraid to think on a grand scale.

In These Times accumulated an arresting abundance of ideas, sounds, textures, and styles. The album is its own jazz labyrinth, and as such is destined for repeated listening and startling discovery.

Both economical and richly evocative, Former Things is as brilliant and sharp as a diamond -- and it's the first LoneLady album that could honestly be described as fun.

Though less immediate and accessible than his earlier work, Time Indefinite is another career highlight that pushes Tyler boldly into the future.

As spare and gently satisfying as a warm spring afternoon, Upland Stories is a reminder that the brilliance of Gone Away Backward was no fluke, and that in his mid-fifties, Robbie Fulks is only getting better, both as a songwriter and as a recording artist. Highly recommended.

As dark and tonally blistering as anything they did in their early years, Inlet essentially finds Hum picking up where they left off in 1998.

Bowie's joy in emphasizing the art in art-pop is palpable and its elegant, unhurried march resonates deeply.

Southeastern was a triumph from a talented songwriter and vocalist who stepped up to a new level; Something More Than Free shows Jason Isbell knows he just got there, and is still making use of that hard-won knowledge--it confirms his status as a major artist.

More comforting than revelatory, M B V reaffirms that My Bloody Valentine are one of a kind; the subtlety to their melodies, instrumentation, and the way they blur together belongs to them alone.

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.

The elements that are new here play out like a means to an end for a songwriter with a tale to tell, one chock-full of raw emotions. The songs stand just fine on their own, too, out of context.

It is unmistakably the work of Brandi Carlile, who once again proves she's one of the best singer/songwriters of her generation.

Javelin is an album about the need to be loved, agape and philia, and Stevens shows that he can write about both without trivializing or minimizing the importance of either.

Add it all together and A Pound of Feathers is not only reaffirmation of their comeback, but the kind of daring and defiant record that it's a miracle that a band this far into their career could still make.

Their new way of constructing songs and the more open nature of the sound have done nothing to blunt their emotional impact, and Microshift ends up being just as powerful and cathartic as previous works while being richer and more musically satisfying.

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.

For those interested in one of the more compelling and quietly provocative and graceful guitar records of 2010, Silent Movies is well worth seeking out.

Loyal fans of underground hip-hop already know he's earned that crown on the cover, and with this purposefully packaged showcase now in place, the uninitiated have no excuse.

Howard makes beautiful pop that rocks and that combination of momentum and craft turns John Howard & the Night Mail into one of his very best albums.

The kinetic force that was missing on Shelter is a welcome (re)admission. Combined with the intense lyricism and dynamic contrasts, it makes for Alcest's most "complete" album since 2007's Souvenirs d'un Autre Monde.

Two of the album's finest originals--burning perseverance anthems "Fussin' and Fightin'" and "Freedom Chain"--are reggae to the core, translatable from an intimate hideout to a sound system. Other moments travel far afield from McFarlane's prior sessions. Not one of them is disposable.

Laila's Wisdom is Evans' lyrically broadest and musically richest work, yet it doesn't have the sprawling quality of the first album.

Blood may have been written and recorded as a companion piece to Moorer's book, but the work is powerful and eloquent, and stands on its own as a vital addition to the catalog of a talent who deserves and demands greater recognition.

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.

Gray has always been reflective, but in removing some of his sonic crutches, he's unearthed a bit of Van Morrison's mystic soul-food shine and brought his acumen as a songwriter front and center.

Absence is a mutative and nuanced album, but one which rewards both casual listening and extended deep dives.

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.

It's an album that leaves you feeling quietly joyful and, as in the spare, poignant closer "Writer," in which Nutini ruminates on the interplay between art and life, might just make you cry.

Featuring production from P2J, Kel-P, Sammy Soso, and others, it's an able follow-up to its breakout predecessor.

It’s vital and authentic, confident yet emotive, refined in its simplicity; Karol has produced her best work yet.

Avenged Sevenfold go further down the rabbit hole with an innovative set of progressive metal epics rooted in existential crisis.

Depth and dimension rule the turbulent group improv in "Were You There" before the album closes on a tender, reverent read of "Precious Lord," wherein in each player -- save for the frenetic Taylor -- engages in harmonic blues conversation. Here, the Red Lily Quintet underscores Jackson's import as a visionary and prophet. The approach to her music combines those qualities of the historic past with the power and drama of contemporary life with all its victories and struggles.

Blue Eclipse is fully realized, a 12-track, groove-intensive set that's so smooth and delicious it's a top candidate for the summer soundtrack of 2024.

Bullion's additions to this specific library of sounds are fresh and individualized, making Affection a soft world of its own, and one that merits frequent return visits and continued exploration.

Normal Isn't is focused and polished, going for the jugular on every single track -- both musically and lyrically -- leaving no room for ambiguity. They're pissed and anxious, with a fear that's turned to desperation on lyrical highlights such as "The Quiet Parts," "Thrust," and "A Public Stoning."

Between the Joe Jackson snarl of "Pay No Mind" and the Beatlesque punk riffing of "Little Strange," there's a satisfying balance of smart pop songcraft and rugged power that suggests he's found the sweet spot.

Time has only made Elverum's music more transcendent, and anyone who loves the Microphones or Mount Eerie will find the album's fresh yet timeless perspective on it a fascinating and moving listen.

It's a swaggering, sexy, shake-your-ass, greasy, deep roots record.

Being both ear shattering and spine tingling at once, this is Fugazi at their "musical" best.

Somber and smart, Decoration Day also manages to kick like a mule, and if isn't quite a masterpiece along the lines of Southern Rock Opera, it's strong enough to suggest the Drive By Truckers have another masterpiece in them.

If Showtime isn't the equal artistic success of Boy in da Corner, it's slightly superior, stunning for the facts that it arrives so swiftly after the debut and is far from a retread.

An undoubtedly reactive work, this is undiluted and progressive nonetheless.

What it all comes down to is that Dig!!! Lazarus Dig!!! is a Bad Seeds record that ups the ante once again.

The comprehensive nature changes our perception of an event we all thought we already knew.

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

Within the context of a playlist, any one of a dozen songs here could bridge '50s bop to '60s MPB, or '70s art rock to '80s boogie, or '90s neo-soul to 2000s dubstep. Equally remarkable is that none of it seems devised. It's like these musicians simply radiate the stuff.

It is, quite frankly, Isbell's best solo album thus far.

The tape sources are all official: The Copenhagen gig is remastered from a state radio broadcast and the other two concerts are from producers' archives, making this historic set among the most essential in the Bootleg Series.

These are wild, protean hard rock songs rooted in psychedelic folk and delivered with Green Man-worthy gusto. What's not to love?

It's a lot of samey-sounding material to wade through just to find a slightly different version of "Mississippi." While the remix is instructive, offering insight into Dylan's intentions and making Time Out of Mind seem less like an outlier in his discography, this set is ultimately for the hardcore heads, who don't mind hearing minute variations on familiar themes.

Seventeen discs may be an enormous undertaking, and admittedly some of the road is rocky, but the journey Harry Nilsson takes on The RCA Albums Collection is distinctive and thrilling, whether it's heard for the first or 40th time.

With membership that includes guitarists, string players, multiple percussionists, instrumentalist-vocalists, a woodwindist, and a brass specialist. their sophomore album, caroline 2, is at least as intoxicating as previous releases. Paradoxically exciting and narcotic at the same time.

The album is spacious and remarkably constructed, with hidden compartments built for secret sounds that seem to unlock with repeated listenings. Easily Le Bon's most involved, risky, and satisfying material up until this point.

The Drive-By Truckers are the best, smartest, and most soulful hard rock band to emerge in a very long time.

In looking to capture the ugliness of humanity and parse through the despair that slithers malevolently in its wake, Daughters have crafted their most vital outing to date.

Every bit as creative and trippy as L'Rain's first two albums, I Killed Your Dog has some of the artist's most relatable lyrics, and cuts closer to the bone.

Forfolks is as welcoming as it is musically adventurous. Void of production or virtuosic solo excesses, it allows the listener inside the guitarist's soundworld for an instinctively guided, infectiously listenable tour.

Feel Flows moves the microscope over to one of the group's more interesting and quietly transformative phases, a curious time when their hopes to remain culturally relevant lived alongside some of their most inspired songwriting moments, and an earnest desire to grow artistically.

Woodland continues their mastery of earthy country-folk songwriting that nods to tradition but is ultimately timeless and deeply human.

This album confirms once again that she's matured into a singular artist with the talent and the vision to make these stories of her travels in the South come to vivid and affecting life.

Bright Future is the type of no-filter album with enough variety and poignancy that each song is bound to be somebody's favorite.

It's easy to sound hyperbolic when describing the impact of Quinlan's voice, but she really does prove herself to be among the most captivating rock singers of her generation on Painted Shut. That her vocals are very nearly equaled by the music and the subject matter makes this album a notable one.

Vijay Iyer's maturing at a rapid rate, while at the height of his powers on this incredible effort that sounds like much more than a mere piano-bass-drums mainstream jazz trio. This is an incredible CD, and a strong candidate for best jazz CD of 2009.

Her songwriting talent and willingness to experiment was already evident on 2017's Play 'til You Win, but the perfect balance of exploration and poignancy on Overview make it a significant step forward for her.

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.

The band are nothing if not exceptional at creating a mythos; by promoting inclusiveness and affirmation to aspirational degrees, they demonstrate that by working together, they can create beauty from chaos.

Equally bold, vulnerable, concise, and expansive, Too Bright dazzles.

The Town and the City isn't likely to be the soundtrack for your next party, but it's an exciting and emotionally powerful experience that grows with each listen.

Decades later, it's still thrilling to hear the band and the crowd feed off the excitement of the other.

Guppy may be just the ticket for those looking for a reprieve from the ubiquitous gloss of electro-pop, and they can have it without sacrificing catchiness or sunny vibrations.

This is essential and irresistible vintage American weirdness.

We Buy Diabetic Test Strips feels like a step forward from a duo whose discography has been consistently innovative from the start.

The amount of courage and skill on display is massive and apart from a few times where he falls off the high wire -- mainly when the balance tips too far to the inward-looking lyrically or he strays too close to played out trap territory -- this reboot just might win the band some new fans, while shedding none who have stayed the course thus far.

Live in Brooklyn 2011 is a stunning document of a veteran band challenging received wisdom and thriving in the excitement of rediscovery.

Takes the scattered clicks and beats of Autechre and combines it with the tunefulness of Spiritualized.... Very rewarding.

It is simply the bravest, most emotionally wrenching record she's ever issued.

Things We Lost in the Fire's slowly rising warmth and subtly hopeful tone not only make this Low's most cohesive, compelling collection, but one of 2001's best albums.

Fans hoping that Evans will return to country music will be disappointed, but Slow Me Down is something that is rare in 2014: an unapologetic, big-scale adult pop album, constructed with grace and care.

It's a stunning debut.

And in the Darkness, Hearts Aglow is another step forward for Weyes Blood, building on the stunning sonic and emotional environments she tailored on Titanic Rising and using that lushness as a means of processing destabilized times.

The Seer is unquestionably a work of ecstatic beauty; it encompasses everything because it is everything.

That Little Simz was able to deliver such a crafty set so soon after the career-making Introvert is impressive enough, but No Thank You stands out for its own merits.

Filled with lonely songs that are as warm as a hug from a long-lost friend, Purple Mountains is more of a rebirth than a debut, as well as a potent, poignant reminder of how much Berman has been missed.

A visceral work that shares the immediacy of classic punk and confessional singer/songwriter fare at once, Puberty 2 takes listeners behind closed doors with the kind of no-holds-barred lyrics that are likely to leave a lasting impression.

Overall a more unsettling collection than his debut, Fussell still offers a unique experience and applies his distinctive take on Southern American music that is like no one else's.

Effectively, this evolution is a biography in the form of archival tapes, and the results are not only historically important, they're absorbing on a sheer musical level.

As always, Ghersi pushes his boundaries on Arca, and the vulnerability he displays makes it some of his most exciting and moving music yet.

The band's devotion to unadulterated sonic malevolence remains unchanged. They know that the darkest corners of the human psyche have deep closets, and they would like to show you what's in them.