Over the course of 13 tracks, Sorry drifts into a wide range of sounds and experiments with subtlety. Their chameleonic approach is never garish, with strong songs being the main takeaway and all the experiments with production and style just the weird icing on the cake.

Bad Bunny does whatever he wants, even if that means quitting when you're far ahead. If he does, we'll still have YHLQMDLG, a transformative fever dream of an album that accents freedom by breaking all the rules without writing new ones.

She's not only exceeded expectations with Walking Proof, she's made an album that will be hard for her to top, though no one who has followed her music so far would count that out.

Although it's all over the place, Before Love Came to Kill Us radiates conviction from front to back, and is without doubt a true representation of its creator.

Even without some of the more advanced effects he's able to use in a proper studio setting, he's still able to do a lot with his limited setup, wringing unearthly sounds and textures from decaying tape loops.

He's in a league of his own when it comes to making the most of music's time-traveling, spell-casting powers, and like Drift Code before it, Clockdust proves that Rustin Man's music has only grown richer and more rewarding over the years.

Expressing a wide range of emotions in a short timespan, Allegiance and Conviction is a vivid, engrossing experience, and just as vital as every other entry in Windy & Carl's unbeatable catalog.

There is nothing subtle about 100% Yes. Despite the anger and activism in the lyrics, this set is saturated with the energy of hope.

The joy shared among these four musicians was abundant in everything they recorded, which is why this is a most beautiful and enjoyable album; it's also a bittersweet one.

Womb's confidence and eloquence proves that a more grown-up Purity Ring still has plenty of sparkle and wonder -- and makes a fine way to round out Roddick and James' first decade of making music together.

["Sparrow" and "Stone"] are melancholy grace notes on an album that's otherwise strikingly open-hearted and resilient, proof that McBryde is broadening her horizons while deepening her core humanistic strengths as a writer and performer.

Her productions have become far more ambitious, abandoning the straightforward house beats of much of her earlier material in favor of more expansive, detailed arrangements that incorporate trip-hop, electro, and drum'n'bass. Her lyrics are significantly more personal this time, and a far cry from the club-dwelling, cheekily hedonistic persona of earlier hits like "Raingurl" and "Drink I'm Sippin On."

TOPS have pretty much mastered their distinctive niche over the course of four albums, and in that respect, I Feel Alive should provide a familiar comfort, if an off-kilter one, for established fans. Initiated and new listeners alike, however, will be treated to a batch of well-crafted, sensual songs for the down-time hours.

A masterwork of composition, control, investigation, and ultimately, realization with aplomb.

Co-produced by the band and Juan Urteaga (Cattle Decapitation, Machine Head), Titans of Creation is as savage as it is meticulously rendered; born of the wisdom of age and rage.

By the time The Loves of Your Life closes with the joyous "The Old King," Leithauser stretches his music into a wide embrace of the past and present that's all the more impressive because it feels so lived-in and genuine.

Calm is the sound of a band whose influences have continued to evolve right along with them and their fans.

At just 30 years old and with seven albums to her credit, Marling's songwriting has been honed to a level of literate maturity that few artists achieve in their careers.

The 2018 debut imparted a somewhat avant form of downtempo with singers, players, rappers, and samples -- crossing generations and genres -- all artfully woven into a contemplative statement. Friday Forever is similarly collaborative and collagist.

Ever-Roving Eye plays like a logical and slightly more daring sequel to his debut, moving forward into loose psychedelic shapes with pastoral chamber arrangements -- courtesy of woodwind player Paul von Mertens -- dotting the otherwise sparse landscape.

On this stunning debut, Sawayama captures Dua Lipa's future nostalgia and Poppy's metal-meets-pop savvy, rightfully making it her own with more depth, bigger thrills, and a limitless palette.

Nothing Is True & Everything Is Possible is either the best or the worst Enter Shikari outing to date. What it certainly isn't is dull.

The result is one of the brightest and most open-hearted LPs of Sexsmith's long career; his vocals in particular have always felt chronically pensive, but he sounds comfortable in a new way on these songs, not exactly outgoing but with just enough playfulness to be easily noticeable.

By adding these new sounds, the Cadillac Three seem younger and savvier, playing country-fried rock & roll for every imaginable creed, knowing that the best parties are the ones where everybody is invited.

His more ambitious second album, Mas Amable, pushes the sound even further, and arguably tops his debut. Designed as a continuous 48-minute suite, the album's smooth flow feels effortless, with very subtle shifts to the textures and rhythms as the piece steadily unfolds.

The group's first two post-reunion albums were fine and deeply satisfying, but The Universe Inside goes someplace most fans would never have expected. It's bold, challenging, and dreamlike stuff that stakes out new territory for the band and unexpectedly succeeds on the level of their best work.

Canada's Born Ruffians continue to hone their exuberant sound on their sixth album, 2020's punchy and inspired Juice. Produced by Graham Walsh, who has previously worked on similarly inventive efforts by Alvvays, !!!, and Holy Fuck, Juice is a live-sounding album, full of hooky shouted choruses, and tactile, analog instrumentation.

The Ripple Effect is offered as a standalone purchase and is easily enjoyed as such given the high quality of the duo's interaction.