Garden Gaia is a varied presentation of the different routes Pantha du Prince has taken over the years, but its different styles contrast more than they conflict, offering up some of the project's most captivating material to date.

Broken Gargoyles is yet another tremendous work from one of the most singular, incomparable artists of her era.

Yungblud is fun, catchy, and very accessible, offering punk spirit without ever being truly dangerous or too explicit.

There's a lot to like among these ten tracks that offer a fairly wide tonal range while still adhering to a central vibe of cool grooves and big melodies.

It's a tense and impatient record, even by Megadeth's standards, and re-affirms the band's status as completely essential metal deities who are still operating on a level of excellence most of their peers fell from decades ago.

There's certainly a hooky immediacy to much of Keep on Smiling, but it's given depth by Two Door Cinema Club's increasingly artful and sardonic pop approach.

Spirituals pushes Santigold's music forward while shoring up its strengths -- and for perhaps the first time since her debut, it feels like art that she had to make for herself.

Ozzy sounds hypercharged throughout Patient Number 9, continuing the unlikely late-in-the-game comeback he began on Ordinary Man, and besting that album by taking more chances.

On the whole, Williams sound engaged, energized, and curious, a winning combo that makes for an appealing listen.

The album also delivers on vulnerable, rock-solid songs, a juxtaposition the Beths continue to master.

At every turn, Diablo puts pleasure front and center, and it's a lot of fun to hear Gurnsey reimagine what gets the dancefloor moving.

Aiming for an even wider international audience, the English-heavy Born Pink matures BlackPink with stronger production, more personal lyrics, and a bold conviction that cannot be contained.

The trio were always capable of more than mere spaced-out jams, but these four tracks organize all the bliss, curiosity, darkness, and contemplation Bitchin Bajas have shown in the past into something deeply considered and perfectly designed.

Like Neptune offers a glimpse into one man's heart and soul while reminding us how he got where he is today, and it's an impressive LP from an artist who has some stuff to get off his chest and can still powerfully entertain as he does so.

While most of The Trouble with Fever concerns itself with personal issues, it isn't insular; the sound is alluring and open, an invitation for relaxation as much as it is for reflection.

An album that, if challenging, successfully mixes religious motifs with a balance of tactile, earthbound textures and hypnotically dreamy, alien atmospheres.

There is no question that The Bootleg Series, Vol. 7: That's What Happened 1982-1985 will cause controversy among jazz fans. But it isn't for them. It's for Miles Davis fans and presents an unvarnished taste of him -- from the cutting room floor no less -- attempting to reinvent himself one last time.

The band's confluence of rough-edged workingman's rock and unique melodic character was arguably never stronger than in 1970, and At the Royal Albert Hall offers a snapshot of just how strong that combination could be on-stage.

The album's production is warm, spacious, and full of depth, but not in an overwhelming way. Ali is casual-sounding yet inspired, and a tremendously inviting listen.

Weather Alive nestles into a comparatively hushed, atmospheric blend of acoustic and electronic timbres that's meticulous and nebulous at once.

Mid-album "Silence," a Homeric ballad in which Smith soars through the cosmos on a delicate rainbow of synth and chimes before crashing to the earth in a meteor shower of over-driven electric guitar squelch and digital distortion. It's a bold, deeply emotive moment, evoking the heartfelt style of Peter Gabriel. That these tracks, as with all of EBM, feel both familiar and unexpectedly fresh speaks to the alchemical spark between Editors and Power.

Maybe it'd be easier to digest if it was broken into a series of EPs, but part of the point of Typical Music is that it offers an immersion into an expansive, eccentric worldview. It needs all of its messiness to paint a full portrait.

Music for Animals might seem daunting due to its length and starkness, but it's actually one of Frahm's most listenable albums, rewarding immersion and half-ignored background placement alike.

Anderson's gift is less about her technical virtuosity, than in her ability to contain complex moods and emotions in even the sparest of parts. Aptly titled with its comma-assisted double meaning, Still, Here is indeed a meditation on both resilience and stillness of the mind.

They may never lose all their restlessness -- nor should they -- but it's undeniable that Cool It Down is one of their most consistent albums.

By the time the title track brings the album to a close with mournful synths and drums that sound like they could punch holes in the sky, Exister finds Vasquez reclaiming all of himself with painful eloquence.

I Ran Down Every Dream arrived when McLain was 82 years old, and if it's not likely to be as big a hit as "Sweet Dreams," it sets the record straight that he was and remains an artist well worth knowing.

Ocean offers a document of spontaneously created music-making of a very high order. A snapshot of a moment in time, the energy, creativity, and surprise offered here are a delight.