Labyrinthitis is another exciting step forward in Destroyer's never-ending evolution, delivering pleasant confusion and unexpected choices along with the kind of fractured but magical songwriting of which only Bejar is capable.

These are recognizably Weezer songs, but they're livelier in execution, benefitting from a palpable sense of playfulness on the part of the band.

This is the kind of music only a tiny handful of people are ever fortunate enough to witness, and Forever on My Mind allows us to share that rare privilege.

"Teeth Out, Pt. II" is even more purgatorial, proving that Miller and Kuperus don't need beats to sound formidable. It all makes Becoming Undone one of Adult.'s most harrowing albums -- and all the more impressive because of it.

Only Love From Now On is a beautiful and satisfying culmination of everything she's done so far.

Released six years to the day after Phife's death, Forever serves as both the final realization of his artistic statement, and a loving tribute to the memory of the artist himself.

The overall downplaying of Camp Cope's more emo tendencies plays like a natural occurrence as they age into this satisfying new phase.

Despite the overwhelming emotions, Never Let Me Go is an exercise in control and expert execution that finds Placebo on another level of songwriting and point of view, a welcome surprise at this stage in their careers.

With such a vibrant canvas to rap over, its good to hear Curry come at the project with a refreshed pen game.

Jordan's willingness to allow us inside his head and witness his insecurities and inner dialogue alongside his rage gives this a depth few hardcore bands will ever reach. If you want your ears kicked, Soul Glo can do that like few others, but Diaspora Problems confirms that's hardly the beginning and end of their talents.

Humble Quest is a mature record in its approach in addition to its theme, a record that offers warm consolation in hours of trouble as well as breezy relaxation during the good times.

The creeping lurch and distressed fuzz damage of final track "Aurora" bring the likenesses and differences of previous phases of the band into clear focus, closing out Sonancy with a sound that could fit anywhere in the Loop discography but feels especially visceral, more dynamic than ever, and somehow new.

An album that's trying to move forward and ultimately relieved things are ending, Tell Me That It's Over may not find Wallows any luckier at love, but they're a little older, a little wiser, just as catchy, and more sonically adventurous.

The cathartic release is absolutely joyous on this stylish party album, a heaping dose of maximalist escapism from a quartet that just wants you to dance your cares away.

Biting the hand that feeds is one of punk's great traditions, and it's a relief to find Pup's shambling spirit unsullied by their present status.

Ultimately, Immutable delivers the very essence of Meshuggah. While comfortable in their collective skin, they continue expanding their reach by obliterating -- hell, nearly swallowing -- metal's genre boundaries in their long, relentless search for the undiscovered.

Despite the fractured path to its creation, Two Ribbons is Hollingworth and Walton's most cohesive album yet. They've grown just far enough apart to be themselves, and they've come together to make something equally beautiful and meaningful.

Fans who fell in love with Tillman's sharp social commentary will find plenty to hone in on, but the lush sounds take some of the bite out of his clever barbs and cynical perspectives on love and connection. Even with the strong, considered design of his previous albums, Father John Misty has never sounded so pleasant.

Fear of the Dawn isn't often a pleasant listen, but it wasn't meant to be: it's a dark adventure, an album designed to provoke and stoke fears, not to soothe them.

While Chambers and Teasdale are still discovering what they can do, they're having a lot of fun finding out, and Wet Leg more than delivers on the promise of their viral beginnings.

Fast-forward a few years and that mid-fi, highly melodic sound [on 2018's Parallel Universe Blues] is fully intact on Past Life Regression. It's a little clearer, sharper around the edges, and less bathed in a kind of third-album VU haze.

It's handsomely crafted classic rock played with flair, wit, and precision, elements that make familiar tropes seem fresh.

He relates without judgment these possibilities for others journeying through this deeply troubled world, rendering I Just Want to Be a Good Man an outsider gospel masterpiece.

With this album, he's challenged himself to make something so personal and ambitious that it finds an audience precisely because it's so extraordinary. It's a challenge that anyone who's been a fan of his music in any incarnation should accept.

On Familia, Cabello celebrates her family's journey and how it helped bring her musical dreams to life.

Orville Peck's image as the glamorous and subversive masked man of country music still feels a bit gimmicky, but in the grand show biz tradition, it's a character that puts the spotlight firmly on a genuine talent, and Bronco is a glorious achievement that fulfills Peck's promise and then some.

Staples goes even deeper into memory and self-reflection on Ramona Park Broke My Heart, presenting his pain, glory, and contradictory emotions in sharper definition while turning in some of his most engaging music to date.

The lack of uninhibited gloating and easy-going funk grooves disqualify Broken Hearts Club from being considered Syd's most characteristic and definitive work. It could become the one that is most cherished -- a skip-less companion for listeners going through or getting over their first real love.