The movie and score are fun and entertaining, but at the same time, the ugly bits of hate speech are jarring and take away from the sheer pleasure of it all. Listen (and watch) at your own discretion.

The album just doesn't flow as well as his monolithic 2013 effort My Name Is My Name, but as a mere "prelude" to the next LP, it's miles above "throwaway" and comes with the quality control that would put it in the top tiers of both the mixtape and street release formats.

808s & Dark Grapes III isn't quite the Zeitgeist-capturing statement that II was, but it's still an enjoyable, highly focused effort.

The entire album pushes and pulls in such a manner, which is completely exhausting but ultimately cathartic.

Raw, organic, but ambitious.

Gorgeously recorded and mixed by Guip, Larry Campbell & Teresa Williams is 44 minutes of roots music gold.

Think of it as the Khaled collection with the most R&B (thanks to Brown), the most Future, or maybe the most Khaled as the DJ not only does his usual talking over tracks, but features his Finga Licking fried chicken restaurant right on the album cover.

Kid Wave may bear their fair share of '90s mystique, but they prove that quality always wins out and these sturdy songs are built to last.

While much of the material here falls pretty squarely in each vocalist's wheelhouse, there are a few surprises.

Their fusion of melancholy melodies, warm sounds, and truly beautiful vocals is still reliably magical, and the only complaint about Pleasure is that it doesn't last long enough.

Balancing transparency and grit with a knowing sense of proportion, Long Lost Suitcase, like the two albums that preceded it, demonstrates Jones' enduring strength as a singer as well as a powerful late-career desire to make music that matters to himself, and it's a powerful and welcome effort from one of pop's most powerful vocalists.

Occasionally, right on!'s stripped-down sonics are too restrained for their own good--"white devil" doesn't have the fuel it needs to truly ignite--but more often than not, the album offers a welcome glimpse of Lindberg on her own.

Claire Boucher's fourth album is wilder, more ambitious, and--at least on the surface--more accessible than her breakthrough

To a casual listener, it might be a little much, but considering the Pope released an album with an electric guitar, he deserves a little credit for having some edge. Whether listeners are religious or not, these are messages that are universally comforting in dark times.

The word "empty" aptly describes how this album feels, and that could potentially alienate listeners, but it captures the (absence of) feeling dead-on, and it contains some of his most compelling productions yet.

Check the great "Extradite" ("Man, I stay on point like icicles") for instant gratification or "Basketball Wives" for an abstract take on the Miguel-flavored bedroom number, then appreciate how this album goes 17 tracks deep and never runs out of inspiration or ideas.

It's a trivial if fun diversion.

The resulting combos that populate these 15 tracks range from inspired to pleasantly odd, and Wells gets points for simply making situations like this album exist. His knack for conveying mischievousness and warmth are in full effect here, with some songs falling squarely on one side or the other but more often than not aligning in combined magic.

Mutant may be some of his most challenging work yet, but as Arca's music becomes more abstract, the viewpoint behind it comes into focus in ways that embrace strangeness, ugliness, and beauty equally.

Vertigo is more expansive than Open--even with its humid, uneasy sense of musical claustrophobia. It's no less engaging for its dissonance and tension. This is possible because The Necks understand how to instinctively balance sonic seduction with limitless exploration.

Overall, even if Central Belters doesn't include every definitive Mogwai song, it's still a comprehensive portrait that captures the nuances of their sound over the years.

The notion of Kinky Friedman as a reflective song stylist might take some getting used to for some fans, but The Loneliest Man I Ever Met shows he can pull it off better than most would expect, and if his singing is a long way from perfect, the heart and soul are present at all times.

Whereas the original Run the Jewels 2 was a perfect soundtrack for a night of mayhem, Meow the Jewels is the comedown after all that rabble-rousing.

Easily the band's finest work yet, Illegals' little quirks and huge emotions have what it takes to sweep listeners off their feet.

Total 15 demonstrates Kompakt's reliability as well as its unpredictability.

Initially, the noise is the allure, but subsequent spins reveal these songs are as tightly constructed as those Howard writes for Alabama Shakes and, in some respects, maybe even a little sturdier.

While the EP is a little more straightforward than Do It Again, it's a fun, spontaneous portrait of a moment made all the more poignant due to Falk's death from pancreatic cancer in 2014.

Miley Cyrus & Her Dead Petz needs an editor, but there's more than enough worthwhile music here to transcend shock value.