Through it all, Leonard maintains an intangible charisma that, along with sustained vulnerability and a knack for keeping the familiar in play while distorting it, has the potential to enthrall.

Like its predecessor, God Don't Never Change reflects the enduring, mercurial influence of the artist, but also the weight the Christian gospel imposes on questions of the human condition as it encounters suffering, joy, mercy, loneliness, death, and resurrection.

Altogether, LNZNDRF do their post-punk revivalism very proficiently, from textures to musicianship, creating solid fodder for headphone meditations or basement gatherings of any size.

Sioux Falls' battles between disenchantment, sadness, joy, and rage are easily strong enough to support an album half this size, but at 16 tracks--with six of them over six minutes long--it's just too hard to stay invested.

Add remixes and instrumentals and this short set gets knocked down a peg, but it's a classic EP in its own way, jumbling brilliance with clearing-house stuff, and ending up a desirable package, instrumental and all.

If not a break-up album, a dreading-breaking-up album whose pace, palette, minor chords, and Låpsley's disquieted vocal performances all collaborate for a debut that's impressively locked into a distinct head space.

What might be considered a sellout by some can sometimes be a positive move when handled with finesse, and Tonight Alive make a convincing go of it on soaring anthems of empowerment like "To Be Free," "Drive," and "Power of One."

In essence, Brute is dark ambient grime, with Al Qadiri's stamping drums and probing bass frequencies heard less frequently than her synthesized choirs and horns. At its most vivid, it evokes the feeling of anticipating a shove or a bean bag round.

Even at its strangest, Echtzeit still feels thoroughly calm and relaxed, as the trio is more than comfortable with venturing into uncharted territory.

Moomin is not making house for dancefloors; A Minor Thought aims for the sunrise, the morning after, the calm days devoid of storms.

Replete with consummate musicianship, Ouroboros is a deliberate work of album rock.

While Mitchell has his stamp on both this album and the Ricked Wicky material, Of Course You Are is also one of the most musically ambitious albums Pollard has released under his various monikers in quite some time.

While enlightenment through disorientation might not be everyone's moment of Zen, Eraser Stargazer suggests that Guerilla Toss is an acquired taste more listeners could develop.

On his second studio album co-credited to the Solar Motel Band, former Peeesseye guitarist Chris Forsyth sprawls out while penning some of his most melodic, accessible songs.

In My Feelings (Goin' Thru It) would be among the MC's best work, but Boosie continues to stun even with these instant, and somewhat sloppy, releases, so leave this for the fans, and then consider becoming a fan.

It's a casual, tossed-off affair, although one filled with mutual admiration, riveting one-upmanship, and a glorious journey across the hip-hop production spectrum, from Mannie Fresh to Metro Boomin.

The biggest constant here is the technical proficiency and complementary blending of the band's lead singers. The pair--who are notably also the album's sole songwriters--make a visual show of this, wearing matching clothes and hairstyles in performance. That quality ultimately overcomes any shifts in style, and also makes them hard to ignore.

As a whole, Incarnate improves on the creativity and restlessness offered by Disarm the Descent. There is a lot more ambition, confidence and above all, passion here.

Ultimately, Of Desire finds the KVB in transition, moving toward a more inventive approach that delivers some of their finest work along the way.

Through it all, and sometimes in spite of ambitious arrangements, Jones proves himself to have a way with poignancy and yearning melodies that stick.

Loose, languid, yet structured enough to feel like a proper bit of pop craft, it brings things back to earth, if only for a short spell, its unfettered hippie heart aglow with positivity and possibility.

It's one full of warmth and engaging words and melodies, though, all guided by a voice that alone would prompt repeat listens.

New Misery may be uneven, but it confirms Cullen Omori has a musical future one might not have expected based on the Smith Westerns.

Often, he returns to this revved-up blues--something that's more appealing when it boogies ("You Left Me Nothin' But the Bill and the Blues") than when it slams ("Distant Lonesome Train")--and while that anchors the bulk of the record, the moments that linger are the departures.

Potential is an intriguing glimpse at the human identities hiding behind computer screens, and how emotions are expressed through the filter of social media.

Hitch doesn't really deviate, at least sonically, from the template. Where it does separate itself from the two prior outings is in its lyrical themes.

An exploratory work, Glitterbust nevertheless has an appealing serenity that makes it unique within Gordon's discography.

His vocal skills help pave over the (rare) moments when the lyrics seem a bit juvenile or the sound feels a little too familiar, and help make Mind of Mine an impressive debut. It's music he couldn't have made with One Direction and while it may not be breaking any new ground, it's new for him and he's talented enough to make that interesting for anyone who likes well-made pop music.