Even though No Tourists is yet another same-sounding entry in the Prodigy's late-era discography, it's also another satisfying dose of thrills designed to wreck the dancefloor and the mosh pit.

Self-aware and unrepentant, the Struts succeed where other artists who look to the past often fail, in large part because, like the Darkness before them, they possess both pop smarts and considerable amounts of moxie.

Only with "Who Want the Smoke?" does the first half rise above the preceding album, yet Yachty's the third wheel, eclipsed by verses from Cardi B and Offset. He's more at ease on the lightheaded "melodic" tracks of the latter half, back to goofy-vulgar observations, musical crib-mobile melodies, and occasional openhearted moments that sound natural rather than forced.

Unlike similarly conceived recordings, this doesn't act as a pleasant backdrop for engaging in other activities; instead, it quietly refuses revelation without active participation from the listener.

Steeped in the lurching, groove-laden thrash attack of the band's late-'90s/early-2000s heyday, Ritual evokes the savagery of Cavalera's tenure with Sepultura, eschewing some of the more overt world music predilections that have come to define Soulfly over the years with something leaner and more uncompromising.

Always in Between might lack the momentum that helped Glynne's debut propel her to the top of the charts, but it offers enough highlights for a fun listen.

It might not quite hit the heights on a consistent level like Writer's Block or have the emotional power of Living Thing, but Darker Days proves that the band are back on the right track.

Although not for the casual music listener, the song ["Legacy of Neglect"] and the album work not only because of Leonard's good melodic and dramatic instincts, but because he is equally charismatic with both quiet acoustic song and outraged, off-balance rock. In this way, the album's riveting album rock-slash-exasperated art rock is reminiscent of figures like Bowie and Reed while remaining completely idiosyncratic.

This is a Western album where ghost towns stand silent and the stars shine bright at night, but the heroes don't so much ride off into the sunset as sink into a shimmering haze of a late-afternoon mirage.

Traversa is sumptuous background music that can brighten the mood or simply soothe the soul.

Segall didn't write any of the songs on Fudge Sandwich, but these performances are as much his as anything that's come from his pen, and if you still need to be convinced that he's one of the freest and most adventurous minds in contemporary rock & roll, this might just do the trick.

Robyn continues to make the trends instead of following them, and with Honey, she enters her forties with some of her most emotionally satisfying and musically innovative music.

Altogether, Suspiria is an appropriate accompaniment to the film, generating fear and discomfort as much by what's presented by Yorke as what's left to the imagination.

On Aviary, Holter answers the chaos of 21st century life by following her bliss; the results are a constellation of moments that celebrate the fullness of her music and, as always, make for fascinating listening.

The set provides both reliably dreamy background grooves and, for the more attentive listener, frequent moments of discovery, making it seem more cutting edge than throwback despite its main inspirations.

A thoughtfully curated soundtrack, Bohemian Rhapsody offers a compelling narrative of Queen's storied arc into rock legend.

Overall, IC-01 Hanoi is interesting and shows that the band does have impressive range, but it's not quite an essential piece of the UMO puzzle.

Live from the Ryman doesn't change what you already know about Jason Isbell as a writer or a performer, but as a document of his many strengths, it's powerful and thoroughly entertaining, and is one more reminder that he's as smart and gifted as any songwriter at work today--and he can work the crowd like nobody's business.

At its best, which it often is, Here If You Listen plays like a hybrid of Steely Dan, Joni Mitchell and CSN, a combination that is soothing and surprising in equal measure. It's an album that confirms that Crosby is at an unexpected and satisfying latter-day creative peak.

Her most varied and generous LP yet.

Occasionally, MassEducation borders on being too stark for its own good, but the songs hold their power in this unvarnished setting.

Forever Neverland contains enough catchy moments to warrant a listen, but mostly remains fodder for de rigueur 2010s alt-pop playlists.

Five albums in, Cloud Nothings version of maturing is to go harder and louder than ever--and they sound all the better for it.

Few bands have the courage to trust fully in it and/or in their ability to not only maintain but give heart and texture to it, but Cave do, and the result is riveting. Allways is their warmest-sounding record to date, and its Delphic charms are a pleasure to get lost in.

A Wonderful Beast feels more like a partially successful experiment than a fully realized meeting of the minds, but Johnson, Carney, and Branch complement one another better than one might expect, and this shows Johnson is still game to try new things and push the boundaries of his musical comfort zone.

T.I. is joined by a long list of high-profile guests, including Sam Hook on the gospel-kissed "Seasons"; Young Thug and Swizz Beatz on the moving "The Weekend"; and Anderson .Paak on the booming R&B-trap hybrid "At Least I Know." Triumphant album highlight "More & More" with Jeezy harkens back to T.I.'s 2000s sound, a booming, bass-heavy anthem that recalls his early hit "What You Know" and P$C's "I'm a King."

Blasting through 11 songs in less than half-an-hour, Pre Strike Sweep never settles into one mode or frame of reference for long. Instead, the album drags and scrapes itself into being for its entire duration, angry and bleeding and looking for new angles with every new riff, crash, and tortured scream.