Physical provides ample proof that he can take the skills he's honed with that group [Factory Floor] in entertainingly different directions.

The Necks move incrementally forward in their quest for the musical unknown on Body; it displays all their creative strengths in a single typically engrossing work.

It's too bad more personal tragedy is what it took to right the ship, but Nothing's third album is a worthy successor to their great debut.

Berdan deals with organized religion and his personal conflict of identifying as a Catholic but being repulsed by the bigotry, repression, and hateful acts committed in the name of religion. It isn't quite clear if he comes to a resolution, or if that's even possible. Regardless, The Long Walk is some of Uniform's most challenging, disrupting work yet.

When Minaj leans into her untouchable strengths as a rapper, things get really exciting and an album of tracks as strong as "LLC" or "Barbie Dreams" would be one for the books. As it stands, however, Queen is another chapter of Minaj's good but largely meandering and inconsistent full-length album output.

While the emotions expressed on Coup de Grace often have a literate, philosophical complexity, the music crackles with a bright, youthful immediacy.

Combined with a higher level of musicality kept in check with a greater sense of nuance, The Nature of Imitation is Johnson's most accomplished and enjoyable album.

His voice shrouded in distortion, sometimes to the song's detriment, Powers' ability to go from vulnerable to feral in the blink of an eye keeps the listener on the edge of their seat, as does the occasional jarring shift from ambient vista to chemical grade electro-mayhem.

The Diet isn't a quantum leap over New Misery, but it certainly represents a step forward for Cullen Omori, both as a songwriter and a performer, and as long as his love life remains problematic, he should have a great future ahead of him.

Like any visual album, the floating sounds here are probably best experienced in conjunction with the visuals they were created for, but even on their own, there's a calm power that grows as the various passages of Tangerine Reef fade in and out of one another.

Smote Reverser is undeniably an Oh Sees record, with all 20 years of the band's history coming through every note played and sung, but it feels like a huge step into something new that's sure to be just as exciting and unpredictable.

This results in an album where the melancholy is bittersweet, not all consuming, which means Thank You For Today is softly reassuring even when its intent is lightly barbed.

Rather than being a disappointment, Be the Cowboy's point of view provides a brilliant twist, one that channels all the unease, unpredictability, and intuitiveness of Mitski's previous work--even for those who don't take in the lyrics.

Out of the Blues may be an excellent final chapter in this roots trilogy, but stands on its own as one of Scaggs' most sure-footed releases.

At less than 32 minutes, Back Being Blue doesn't last long enough to wear out its welcome, but it could run twice as long and still be a treat; it's an easygoing but richly satisfying release from an artist who shares her talents all too rarely.

His most refined batch of animated pop yet. He triangulates somewhere between Ben Folds and Charlie Puth, albeit with eccentricity to spare and a better feel for the funk than either musician.

Balancing restraint with a keen ear for pop-friendly hooks inspired by Jack Antonoff, Dizzy manage to make quite the opening statement with Baby Teeth.

To some ears, this album might sound like demos or unfinished sketches, but its simplicity seems to be Pajo's way of saying that sometimes it's best to appreciate things for what they are, and just be happy you're alive. He seems to be at peace, and that carries a great amount of significance.

Because of its variety of rhythms, infectious energy, and limited track lengths, Angry Cyclist's thirteen tracks go by quickly. That, taken together with lyrics that are both playful and pointed, consistently strong melodies, and exuberant performances make it the type of album that would fun see performed live in full, and one of their best.

Equal parts mesmerizing and challenging, Rockhounds has a truly unique allure.

Highlights are well placed within an astutely paced sequence of short and bittersweet love songs and instrumentals, all substantive and ripe for sampling. ... Piano, strings, and horns have greater presence, providing a lighter, often joyous touch that complements the mostly muscular drums and chunky basslines.

It's not a showy record and it's not going to bowl anyone over, but it is sneaky good and shows that Primo are definitely on the path to doing something really special.

As befits a self-titled album, all the moves Shears makes--both familiar and new--feel true to him. Funny, flashy, and not so secretly recovering from heartbreak, Jake Shears is one of the tightest sets of music he's made.

While much of his work seems deliberately, painstakingly crafted, there's still a fluidity and a sense of being guided by subconscious forces.

There's a good chance we're going to get a full-on rock album from Jennings now that he's gotten this out of his system, but as an expression of his country soul, Shooter ranks with his best work to date.

Linda Gail Lewis may share top billing on Wild! Wild! Wild! with Robbie Fulks, but she's not playing second fiddle to anyone; they both deliver the goods here, and if you don't believe a 71-year-old woman can make a great rock & roll record, this album will show just how wrong you are.

Outsiders has a strong foundation but sounds effervescent, a combination that frequently results in giddy, intoxicating pop, which is what this album is.

They may have done some drastic reshuffling and tried some new things on Move Through the Dawn, but it's a Coral record at its core and it's one of their most satisfying, too.