Stripped down but nonetheless gorgeous for it, the album is an inviting combination of heavy themes and unassuming delivery, and easily some of Hayden's most colorful and intriguing songwriting.

We Knew may be a less immersive listening experience than Kudos was, but it makes up for that by sounding better and having better songs.

Fifth State generally feels easygoing yet energetic, and informed of the state of the world while trying to achieve inner peace and enjoy life to the fullest.

Aisles is a bit of a one-trick pony, but a cool one that seems prime for themed dinner parties and TV sync placement.

Gravity Stairs may feel cozy, but it never feels lazy. Some of that surely lies in how the band chooses to camouflage its strong melodic core with fluid, shifting surfaces -- a decision that winds up emphasizing sound over song while also directing focus to the familial chemistry of the band.

It succeeds as an introduction to Charli XCX the Pop Star while retaining her whip-smart songwriting and attitude.

Drowaton pulses with ideas and energy, and there doesn't seem to be a musical style beyond the Mints' grasp.

She keeps up her end of the bargain, writing a batch of heartfelt songs and delivering them with her always lovely style.

At this point of the Brockhampton story, the boys have tempered the antics and wild-child energy of past releases, maturing with an authentic grace that will only further endear them to fans of past work looking for more substance and sentiment.

Embodying hard times as well as the way friends lift each other out of them, Oh No also exemplifies the drama, mystery, and deeply felt emotions that have made Xiu Xiu a vital musical force for decades.

Straightforward and relatably human, High as Hope may not be the rousing version of Welch from previous albums, but as a document of her personal growth, it's an endearing and heartfelt study of truth and self-reflection.

Together, usually accompanied by little more than acoustic guitar and piano, they create emotionally rich musical miniatures that only ever take up as much room--both musically and lyrically--as they need.

Culture clashes never sounded so good.

Things are decidedly darker this time around; although his music has always been psychedelic, Raposa's In the Vines aligns itself more with a bad trip than lazy, woozy-eyed stoner fare.

Bahdeni Nami's greatest appeal will be to newer fans who may prefer more contemporary production to the gritty lo-fi dabke aesthetic. That said, despite various flourishes, these producers try hard to remain true to Souleyman's spirit and, with only one exception, succeed in spades.

A wild funhouse of an album, Jewelleryis more challenging and idea packed (not to mention more fun) than a lot of self-proclaimed experimental music.

While this is definitely a darker album, the fuzzy synthesizers help to give the songs warmth, preventing the album from becoming suffocating.

The majority of Fundamental is like the majority of their great album Behavior in that repeat listens are required to do these rich songs justice.

Spoek makes the "hard truths" sound like "real talk" while putting some of the world's most innovative rebel music underneath.

It's an honest record, stripped of artifice, and it will hit you hard if you give it a chance.

This is a pure country album, loaded with fiddles, acoustic guitars, and close harmonies, but retaining the Chicks' signature flair, sense of humor, and personality.... An instant classic.

Even though there's little stylistic maturation in his approach since his first release in 1986, Yoakam's songwriting craft keeps improving, and any track from this album could be a hit single. With Tomorrow's Sounds Today, Dwight Yoakam has fashioned a contemporary roots-conscious country album whose qualities, like the artist's distinctive style, are timeless.

Beats and percussive effects are far more present and grounded in hip-hop as much as they are rooted in dub, which lend the tracks an organic touch never before present.

It's a nice blend of the self-conscious Flowers in the Dirt and the organic, natural Flaming Pie, combining the craft of the former with the attitude of the latter.

Between its fizzy lyrics, brittle guitar riffs, cheesy Casio keyboards, and primitive rhythms, the record seems very much out of touch with contemporary pop; its ebullience and innocence hark back to a time that now seems very long ago.

A well-made, funky, fun record that proves two things -- the Hi sound lives and Al Green still has it.

Even if The Concretes is slightly disappointing in some aspects, it also has more than enough charms in its own right.

Though Variaciones Espectrales might be too noisy to work as background music for some listeners and too experimental for the dancefloor, it's another accomplished, fascinating slice of sound/beats exploration from this consistently pioneering artist.