An album that shares a spacy sadness with Sparklehorse's Good Morning Spider and Radiohead's OK Computer. Though it's a little more self-conscious and not quite as accomplished as either of those albums, it is Grandaddy's most impressive work yet and one of 2000's first worthwhile releases.

I Don't Like Shit is heavy and lacks much hope, and yet it communicates these feelings with such skill and artful understanding that it still fills the soul.

Despite FM!'s brevity, Staples jams so much into every bar that it fully satiates, all while still managing to end so abruptly that it comes as a surprise. The electrifying thrill of FM! is a triumph for the rapper who remains at the top of his game.

Regards / Ukłony dla Bogusław Schaeffer reveals itself as an inspired tribute to Schaeffer and another fine example of how Matmos' circular interplay of invention and reinvention remains exceptional.

He comes up with a mind-bending, low-key triumph, the kind of magnetic album that takes around a dozen spins to completely unpack.

This mix of warmth and wariness permeates Hadsel and, despite its idiosyncratic inspirations and unorthodox instrumentation, may well make it a timely and timeless destination for those who relate to its juxtaposition of comfort and alienation.

Cartoon Darkness is a sweaty, visceral thrill, apt for aggressive revelry, driving too fast, and scrapping for the fun of it. It's not a very friendly listen, but that's not the point: confrontational and cathartic, it's existential bloodletting with a warrior's fury and a shredded throat.

Often riveting and never boring, and with credit to the band's charismatic leader, the album makes for an exciting and noteworthy debut.

Chaney's robust voice commands the room, deftly weaving between the intersecting lanes of vulnerability and raw power with remarkable poise, especially on standout cuts like "Dragonfly," "Roman Holiday," and "A Tree Grows in Brooklyn," the latter of which uses the "cockles and mussels alive, alive oh" refrain from the traditional Irish ballad "Molly Malone" to devastating effect.

Azel is essential, not just for Bombino's growing legion of fans or even those of music from the Sahara region. It is a remarkable example of 21st century popular music.

Though there are no great surprises on You in Reverse, it is one of Built to Spill's strongest efforts, and anyone who has followed their career knows that this is high praise indeed.

Recitation is one of those records that cannot be rushed, but instead must be experienced on its own terms, and anyone who's able to relinquish control and let Envy steer for a while will be rewarded.

When he indulges in a wash of Vox organ and a rush of 12-string guitars, or when he updates Curtis Mayfield on "Phoenix," they play like transmissions from the past on an album that is focused on the now, and the willful, harmonious collisions of history and the future give Saturn's Pattern its kick, while the warm thrum of the grooves gives it its soul.

Check the excellent singles "Kno One," "Really Really," and "La Familia" for some easy persuasion, and then know that the album is devoid of superstar appearances because the captivating Gates doesn't need them.

World Eater's focused chaos is some of his finest work yet.

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 Pain is overall both an exciting artistic achievement and a record that should fit the bill for anyone looking for a very cold and sad synth pop update.

Rampen contrasts Neubauten's hard and soft sides, recalling the spontaneity and inventive instrumentation of their beginnings, but framing them in a more mature and hopeful perspective.

The Apple Tree Under the Sea takes more listens to fully appreciate than the effortlessly charming "girlfriend," springs' breakout viral hit, but it's undoubtedly a magical and inspired work.

IT’S BEEN AWFUL is the sound of Rashad breaking lock after lock open, and letting everything bundle out into the open; on the late-summer air, his flurried thoughts spread into a stunning whole of growth and selfhood.

If the day is as sun-drenched and relaxed as the songs on Shadows implies, then may it and Teenage Fanclub go on and on.

Land of No Junction is a beautifully arranged set with a strange sonic allure, but more than anything, it's Frances' excellent songwriting that holds up this very strong debut.

Like so many 21st century psych-inspired bands, Bananagun lean awfully heavily into their love of a very specific era, but they've nonetheless made an exceedingly fun record with plenty of craft behind it.

An album of many strengths -- poetic yet folksy lyrics, charming melodies, an A-plus band, and disarming sincerity -- Haunted Mountain is another delight in a solo career that deserves to be more than a sideline of his Billboard 200-charting main gig.

It's a clearer-than-usual sonic landscape from the band, one that invites the listeners to get lost in the details, where they can see how truly separate this chapter is from the rest.

From a few listens, it's clear most of these weren't bumped because they were low-quality; "Doo Rags," "No Idea's Original," and "Black Zombie" stand up to anything Nas has recorded since the original Illmatic.

Like David Byrne's underrated orchestral epic The Forest or Philip Glass' Koyaanisqatsi, Systems/Layers is cerebral and human, transporting you without insulting your intelligence.

A few too many songs share tempos, melodies, and moods to make this a great Kristin Hersh album, but it's still a very good one that her longtime fans will appreciate.