Not only is it a special volume of Fabric's impressive series, it's a living piece of music that presents Daphni at its most vital.

Overall, while the album is varied, it's consistently absorbing as it reveals itself with a sense of suspense through its melancholy ambience.

Some references to proper nouns come across as either misplaced or forced, and the set could do with fewer strained fairground-rock choruses. These shortcomings are nonetheless too rare and slight to prevent The Autobiography from being a remarkable first album.

Based on the nuanced opacity of these lyrics and the artful moodiness of the music, the answer will likely remain an elusive puzzle for listeners to ponder. Thankfully, Manchester Orchestra have made an album well worth pondering over.

Power of Peace is loose, but everybody brought their chops to the party. This is what happens when great musicians gather simply to see what happens and enjoy one another's company.

Overall, there is just enough on Everything Now to appease fans and attract newcomers with accessible singles, but as an Arcade Fire record, it's unfortunately too inconsistent and ultimately hollow. Arcade Fire sought to make a Big Statement but instead produced one of their least impactful works.

This is beautiful, heart-wrenching music that no one with a heart and a soul can walk away from without feeling its impact.

Wobble has been on a creative tear for decades with a few significant breaks. The Usual Suspects reveals its scope with sophistication, savvy, and humor. Essential.

Dylan didn't need another covers record. Thankfully, Nile didn't give a damn and delivered one of the best.

Spooky Action is rollicking exercise in high-impact lo-fi rock that should more than satisfy anyone who has dug any of Loewenstein's projects in the past.

It finds the group evolving while holding on to what was best about their first LP, and they remain a singular and bracing punk rock band for people who think they're too smart for punk rock. Well worth your time and attention.

From the heartfelt Irish folk tribute "Blackwater Banks" to the unstoppably hooky "People Like Us," this is an engaging and fun listen that is easy to repeat again and again.

It's spacious and fluid rather than rock-solid and rigid, but every sound and movement feels entirely deliberate. Nearly 40 years after their formation, Laibach remain innovators, and Also Sprach Zarathustra is easily one of their best works. Absolutely glorious.

While most of these songs are rife with anxiety and isolation, the open-hearted lyricism and wide-scoped productions, put together by an artist in peak form, make them immensely engrossing. Frank Ocean, Pharrell Williams, Kali Uchis, Syd, and Estelle are among 11 supporting cast members, not one of whom is inessential to the whole.

If Lust for Life starts to slow down toward its conclusion--"Tomorrow Never Came" seems like the logical conclusion, but there's a three-track coda afterward--it nevertheless delivers upon its promise of a sunnier Lana Del Rey, and the very fact that she can find so many textures in a deliberately limited palette is impressive.

Within these five tracks, Coldplay touch upon various contemporary trends in EDM, R&B, and rock without abandoning their identity, and thereby they are fleet and clever, not relics.

If the question on The Knife is what is an aging punk rocker to do, then the answer according to Feldmann is keep doing what you're doing--just be sure to be the best at it. It's a brave sentiment, and Goldfinger definitely lives up to it.

The group doesn't disregard songs; the songs are nimble and open-ended, inviting exploration but also ready to be played simply. The result is the CRB's best record to date: one that captures their trippy side as easily as it showcases their sturdy foundation.

With a playing time of over an hour, and a reflective, more often than not formless complexion, even acknowledging its subtle whimsy and California roots, Eucalyptus goes by like a long drive through the plains, rewarding the patient and attentive.

The result of this collaboration is a set of sophisticated, textured psychedelic soul and jazzy synth pop with no shortage of elegant grooves and melodies. The new sound may be a surprise, but it could also be the sound of summer.

Ultimately, the beauty of Sacred Hearts Club is that it sounds like a Foster the People album without unnecessarily rehashing the sound that made them famous.

Goodnight Rhonda Lee is hardly Atkins' first stylistic excursion into the past, but here, having an audibly sharp focus, a lot on her mind, and a leave-it-all-on-tape performance ethic make for her strongest impression since her debut.

Placed beside only Z, its three-year-old prelude, Ctrl is the work of a considerably less-inhibited songwriter. Rowe likewise truly fronts these frank songs that wield power as they lament lonesomeness, insecurity, and inertia.

Platinum Tips + Ice Cream is perfectly imperfect, full of spontaneous, weird, and honest energy that makes it clear why Royal Trux had to continue their reunion beyond these two dates.

As moving as it is to hear her and Chilli together for another album, the material is not up to par with TLC's past. Flashbacks are more likely than repeat play.

The ways they refashioned vintage pop on Days Are Gone felt risky, but Something to Tell You offers safer, smaller pleasures.

Compared to the earlier Floating Points material designed to connect to the head more than the hips, this naturally comes across as underdeveloped, but it's engrossing nonetheless.

Not every track leaves a major impression, but Mura Masa is still a quality effort from an ambitious, inventive producer.