There's nothing rebellious about the music and not much natural, either--but its immaculate anodyne tones are soothing, and that's superficially pleasing, even if it doesn't remotely seem attached to the Richard Ashcroft of lore.

Cherry's songs here are deeply meditative, often implying or directly expressing sorrow regarding planetary afflictions rooted in fear.

Where it differs from the debut is in lyrics that are heartfelt but deliberately less personal than Me.

Its sonic audacity is so bracing, it's relatively easy to forgive the lyrical stumbles, which crystallize on the dirty puns of "It Girl," but that's nearly beside the point because, unlike Love Stuff, Shake the Spirit never seems indebted to Elle King's idols. Instead, it embodies her own bold, bawdy heart.

Jake may be the weak link, but he merely reveals how the whole band seem to have learned their moves from watching late-night concerts on Palladium while buying pre-worn vintage-styled T's at Urban Outfitters. For the band and audience alike, Greta Van Fleet is nothing more than cosplay of the highest order.

Wasteland is another example of Uncle Acid's genius, and more evidence that they are the best metal band (apart from Black Sabbath) of the early '70s.

It's quaint yet enjoyable but doesn't deliver the same power or joie de vivre of its far more boisterous predecessor.

Quavo Huncho is enjoyable but unmemorable. It's not quite a Migos album, but it comes close enough to tide fans over until album number four.

Wwhile it's hard to argue that Evolution lives up to its moniker, the familiarity of the architecture is lent considerable gravitas by the overall execution, which as per usual, leaves nothing but perspiration in its wake.

Lyrics like the closer's "No more listening today" and "No one left here today" may apply to some returning fans, but the invigorated approach to production, arrangements, and, in many cases, performances makes for a still highly listenable set that's at least as likely to excite as to challenge.

Flourishes, along with Kelly's sharply honed wit, keep the otherwise moody and slow Dying Star from seeming somnolent, and they're enough to help steer attention away from the album's appealing nocturnal sheen and to the songcraft, which is sturdy and enduring.

Estelle's creative energy is manifest here, so much so that the constant rotation of featured guests becomes a distraction.

Its six anthems burn with Ilunga's desire to prove himself, and the years he spent refining Noirwave paid off: His vision of a proud pan-African culture is in clearer focus and more relevant than ever.

The fascinating thing about Loving the Alien is how it makes this period seem more interesting than the individual albums, and that's entirely due to the dance mixes, ephemera, and awkward live material. On these byways, it's possible to hear Bowie grapple with both his past and present in a hungry fashion and that desperation is alien to Bowie, so an immersion into this unease makes for compelling listening.

Pink is the work of a band in love with music, doing it for kicks alone and not worried at all about being cool or cute. It's refreshing and fun and some of the best pop music anyone is likely to hear in the late 2010s.

Hiatt's band (Yates McKendree on guitar, Patrick O'Hearn on bass, Kenneth Blevins on drums, Kevin McKendree on keys) lays a lean but eloquent groove behind his performances, and the audio is rich and clear. One hopes for his sake that John Hiatt's life is happier than The Eclipse Sessions may suggest, but either way he's given us a dark night of the soul that's compelling and beautifully crafted.

Origami Harvest may not work for everybody, but for those who take the time to explore the unexpected bends and folds in Akinmusire's construction, a wealth of discoveries can be found.

Created in a time of turmoil, Fighting Season is an album that always reflects the era that informed it, and while Thalia Zedek never pretends to have all the answers, her musings are brave, literate, and full of heart, and this is an important statement from an important artist.

Magick Songs provides a genuine journey, and that propulsion is enough to power JEFF the Brotherhood through the moments when they indulge in hazy pastiche, assembling a washed-out watercolor version of '70s sci-fi that was already a faded memory by the time of their birth.

At 67, Graham Parker isn't as angry or young as he once was, but he remains an estimable talent, and he's reveling in the pleasure of making music on Cloud Symbols. You may well feel the same way when you listen.

Frustrated, hungry, and full of rage, The Atlas Underground is a rallying cry set against an inventive and propulsive backdrop that inspires a physical response as much as thoughtful action.

Look Now is the work of a man with enough talent to take his muse in any direction he pleases and give us something memorable.

A collection of songs and finds Grant at his loosest, funniest, and most heartbreaking.

Very much a product of their time, Brockhampton absorbs what they need from across genres, sharing honest confessions from their varied personal backgrounds (the most striking provided by group leader Kevin Abstract) and reflecting its mixed audience as a voice of their generation. Brockhampton have seized upon this defining moment with Iridescence, a defining peak in their young career.

Bunny seems more like an album to mentally pick apart than dance to, yet it's not hard to lose one's self in the rush of Dear's inventive rhythms.

Jassbusters has enough chops to pull off the kind of slick 70's MOR soft rock that seems to be Mockasin's bailiwick, but as a whole, there's just not a lot to these songs to keep things consistently interesting, and the album comes off as more of an indulgent lark in Mockasin's growing canon.

If anything, ATW feels like a product of pure instinct, and while it may take some patience to absorb, there isn't a single note that feels coerced.

Overall, Reduxer is as pleasantly surprising as it is satisfying, offering an exciting counterpart for fans of Relaxer, while providing 11 fresh reasons to appreciate the original incarnations for those who might be less familiar.