The album runs more than an hour, with 23 tracks ruminating on similar musical and topical themes, but somehow Me vs. Myself stays fresh throughout.

There's a heady joy in his bile that's infectious, and Every Loser is a weirdly joyous celebration of life from someone who knows why you shouldn't toss it aside.

Sharp, incisive songwriting remains at the heart of her music, allowing Price to weave different sounds and rhythms into her probing, emotionally open songs.

Coombes remains a rocker in repose, avoiding the temptation to make a racket, yet Turn the Car Around carries a sense of adventure that World's Strongest Man lacked, which ultimately makes it a richer listen.

Even the inclusion of an older tune somehow doesn't feel like they're content to stay cycling through past ideas. If anything it serves as a stark example of just how far they've come since those timid, mawkish early days, and the rest of the songs give a glimpse of how far they might yet go.

Often moving. ... It's that distinctly human sense of discovery and the yearning for a better tomorrow, even as the world crumbles around you, that Circa Waves capture on Never Going Under.

Though it's often a slower burn than Who the Power, Internal Working Model reaffirms Moss is an artist with something to say and a distinctive way of saying it.

The wonderful paradox of John Cale's music is his best albums don't often sound like one another, but they're all driven by music no one else could create, and his heart, soul, and vision are visible and intact through the dense, free-flowing atmospheres of Mercy.

With Rush!, Måneskin make good on their Eurovision rock promise, delivering an album that's campy, inspired, and thrilling all at the same time.

With Ladytron, the band proved they could more than hold their own with the like minded acts who sprang up in their wake. The thought and skill they put into Time's Arrow, however, could only come from years of perspective and experience.

La La Land captures the incredibly rare state of a band still sounding fresh and curious on their 37th LP, and shows no indication of Pollard and co. stopping anytime soon.

The enthusiasm of the execution helps keep The Power and the Glory from sounding like an exercise in nostalgia, as do Mantione's earnest, unguarded songs: this is music that exists entirely in its own moment, not as part of the past.

Furling never feels like a mixed bag, primarily due to the control with which she moves through her songs. The softer acoustic folk tunes and heavier, more far-reaching dives into piano and densely stacked arrangement all feel like similar parts of a whole, and the album flutters by beautifully like an unbothered mind wandering through various thoughts on a sunny day.

It's as viscerally effective as anything Fucked Up have ever recorded and smart enough to speak to the mind as well as the heart. If this is what the band can do in just one day, imagine what they could have done if they'd given themselves a week.

Much like the natural world it describes, Complete Mountain Almanac is a deeply nuanced record of layers and unseen details that only reveal themselves with time.

It's an intelligent, compassionate, heartfelt album from a man who knows how to make them, and we should all be as grateful as Joe Henry that he's around to sing these songs.

It's that feeling of needing to get out of the house and away from your family, or perhaps yourself, that We Are Scientists distill with lab precision on Lobes.

Heavy Heavy pulls in the listener with an empathetic lust for life that, whether brimming with optimism, steeling for a threat to survival, or reckoning with a perceived futility of existence, somehow never wavers.

Heavier than ever, Oozing Wound find no resolution or peace with these songs, but continue banging their heads against the wall in beautiful fits of rage and exhilaration.

Let's Start Here. may be more loud guitars than 808s, but Lil Yachty still commands the songs powerfully, making vessels of expression out of whatever sounds he chooses.

None of these uninhibited songs could have been half as convincing voiced by another singer. That said, it's evident that she's using her platform to speak for others who have lived through anything remotely similar.

The songs are honest, deep, and direct, but never heavy-handed. Mostly, The Candle and the Flame finds Forster taking stock of his long and storied life, and grasping at some of the many moments of love and beauty he experienced along the way.

Yo La Tengo have been doing what they do long enough that they know and trust their process, and This Stupid World doesn't seem radically different from their work of the last 10 or 15 years. That said, this music feels warmer and more emotionally satisfying than anything YLT have given us since 2009's Popular Songs.

Eye of I showcases the immediacy and range in Lewis' musical imagination in composition, improvisation, and communication with a freer, more immediately instinctive persona on full display. All killer, no filler.

Balancing bright, colorful electro-pop with a slight air of melancholy is hardly a new trick for Albarn yet there's a clean, efficient energy propelling Cracker Island that gives the album a fresh pulse.

Dynamic is just what it is -- these songs show Weiss is again living up to her status as one of the best rock drummers on the planet. ... The songs are splendid, full of clever, catchy melodies, and Coomes' dramatic delivery is a great vehicle for his often topical and always quotable lyrics, taking on a variety of political and social maladies with a wit that's as charming as it is venomous.

Shauf clearly didn't want to repeat himself, and he hasn't, even though the soft suede of his voice still dominates the tracks, seeming even stronger when his characters are in emotional retreat. One might be tempted to play this story for laughs, and it's commendable this album feels straightforward and sincere, even at its least plausible and possibly blasphemous.

Pollen is yet more proof that Tennis make the kind of music that feels comforting and exciting at the same time. It's rare that a band can ever manage to find that magical sweet spot, even more amazing that a band can hold steady right in the middle of it for as long as they have.