Ultimately, while DREAMCAR's debut surely exists as a byproduct of No Doubt and Havok's various successes, the album stands on its own, magnified by each bandmember's most charismatic elements.

A Kind Revolution nevertheless feels cozy, a record designed to provide nothing but comfort and that's an unusual twist for Paul Weller.

While there is some appeal in this bright blast of sound, especially when he's in party mode--"One Beer Can" in particular recounts the aftermath of a raucous adolescent bash--it can also seem vaguely desperate, as if he's still clutching a reality that's faded into the past.

Some of these quieter moments can be sad, yet this album isn't depressing: it's hushed and moving, ultimately a comfort.

Ali returns with All the Beauty in This Whole Life, a record that never shies away from facing injustice but focuses on a different aspect of activism: inner transformation. That's not a new age slogan but ancient wisdom carried from Tao to Gandhi to MLK; Ali brings it down the pipe with the hammer of compassion.

Keeping track of whether Logic's writing from his own or someone else's vantage can be a challenge, but one doesn't need to be that familiar with his work to realize that this contains some of his most personal rhymes.

His vocal skills help pave over the (rare) moments when the lyrics seem a bit juvenile or the sound feels a little too familiar, and help make Mind of Mine an impressive debut. It's music he couldn't have made with One Direction and while it may not be breaking any new ground, it's new for him and he's talented enough to make that interesting for anyone who likes well-made pop music.

Where 2013's Paramore found the group tentatively transitioning from their pop-punk roots toward a multi-layered '80s synth-pop sound, After Laughter reveals them having beautifully completed the transformation.

Coziness certainly has its appeal--it works as balm and a tonic--but it's hard to shake the feeling that Zac Brown Band overplays their hand somewhat by insisting they've reconnected with their roots. All those lyrics feel calculated and defensive, undercutting the grace of the music.

Harry Styles works exceedingly well as a modern pop album and an extension of the One D sound and brand, but as the kind of personal statement Styles wants to make, it comes very close, but ultimately falls just short. More weirdness, less slickness, and a distinct musical vision next time and maybe he'll get there.

This is one pleasant and pleasing surprise.

With existential lyrics about hardship and fate (including reference to his own successful cancer treatments following 2014's Gray Lodge Wisdom), the singer's calm delivery manages to convey gratitude, understanding, pain, and affection across the album and even within single songs.

White Knight is split fairly evenly between solid senders and odd detours, which just makes the overall package weirder: it has the bones of a good record but Rundgren seems disinterested in actually making a good record

With II, L.A. Takedown have constructed a somewhat chilled but still frequently exciting vision of Los Angeles, rooted in the '80s but letting other eras and locales seep in.

Occasionally, Genders' musical adaptations verge on becoming overly fussy, but for the most part, the contributions of each partner are pleasantly transformed by this strange affair.

There's a very singular character to Girlpool's music, and it's a pleasure to be able to dip into the remarkable world they have created.

It doesn't surprise but it doesn't seem stuck, which gives the album a mellow appeal.

Penguin Cafe have created a charming world within The Imperfect Sea that gently seduces the listener through the restless and captivating collection of songs within it.

While the lack of unreleased material might make it superfluous for serious fans, this remains a splendid summation of the work of a major artist who continues to create deeply personal, profoundly moving music.

This is not just ecstatic music, but cosmic soul music. If you buy one archival recording this year, let this be it.

Krall has a definite vision for Turn Up the Quiet--she wants to keep things smoky and subdued, a record for the wee hours--and the end result is so elegant, it seems effortless.

The stylistic switch-ups are clever and effective without coming across as forcefully out of character.

It cannot be understated how bold it is to go against the grain in a genre where adherence to style can equal respect, but Stormzy's ambition exceeds potential judgment from purists. He's more concerned with expressing himself and adapting to survive, so that he can express further for years to come.

This is a celebration, both of the group's past and its inspired present, and that is more than enough to make this a worthwhile live album.

Here [on the title track] and on the rest of Nothing Feels Natural, the hunger, vitality, and intelligence coursing through these songs feel timeless as well as timely.

This is a remarkably powerful and pure album.

The album is deficient in emotional depth and congeals into a mass of adequate mood music. It doesn't offer much more once the themes--including romantic fulfillment, solace, and longing, with a little materialistic frivolity, eyelash batting, and cutting loose--come into sharper focus.

Splazsh and R.I.P. remain Cunningham's most novel and creative full-lengths, but this thrill-filled one, whatever it's about, is his most direct.