Claustrophobic yet adrenalized, Another Life is a goth-rave nightmare transmitted from an apocalyptic future.

Ultimately, superfans might be polarized by the experimental musings of Elephants on Acid, but those with some distance will find this curiously assembled collection pleasantly puzzling in its layers of trippy appeal. Something this unexpected from such an established act can't help but feel refreshing.

For all the excess and buildup, this exhibits Wayne on an upswing, lucid and invigorated.

The songs are strong but the reason to listen to Bad Mouthin' is the performance, how White maintains his thick, heavy mood from beginning to end, always sounding compelling through the familiar changes.

Undeniably dark and haunting, Burn Slow succeeds in taking the listener far from the beaten path while living up to Liebing's artistic standards.

Although there's nothing groundbreaking on this album, Young Romance is warm and pleasant from start to finish, ideal for sun-kissed afternoons and carefree nights.

At first this can feel less immediate than previous work, but much like Phosphorescent's winding journey, C'est La Vie burns slowly and leaves impressions both spiritual and sonic that merit repeat listens.

In a way, with all its emphasis on over-achievement and a continuous supply of re-recounted autobiographical content, YSIV can be as mind-numbing as the mumble rap Logic rails against, but the proficiency and fervor are indisputable.

A confounder rather than a crowd-pleaser, Fabriclive 100 is nevertheless a highly thought-provoking glimpse into the minds of two brave individuals who think very differently than anyone else.

Taken together, the record's simple ballroom dance rhythms, memorable melodies, and nuanced performances are a recipe for pop confection, however unhappy.

Taken as a reaction to toxic politics, a relentlessly discouraging news cycle, and generally raw emotions, Vitriola is a beautiful slice of wild anger. While it can feel relentless at times, these songs find Kasher and his bandmates swinging at anything that moves with all the passion and power of their best albums.

For those who aren't put off by its favoring crafted texture and melody over mood or structure, it's also absorbing, offering layers to uncover with repeat listens. Trivia of note: Perfect Shapes is Wasner's first time producing music that isn't her own.

Making the most of the various environments where it was recorded, the album feels like a travel diary picked up sporadically along the way. Some entries expand on every thought and some are left half-finished, but these contrasting moods reflect the peaks and valleys of Vile's journey, both literal and metaphorical, in getting to this chapter of his music.

Overall, Reduxer is as pleasantly surprising as it is satisfying, offering an exciting counterpart for fans of Relaxer, while providing 11 fresh reasons to appreciate the original incarnations for those who might be less familiar.

If anything, ATW feels like a product of pure instinct, and while it may take some patience to absorb, there isn't a single note that feels coerced.

Bunny seems more like an album to mentally pick apart than dance to, yet it's not hard to lose one's self in the rush of Dear's inventive rhythms.

As alluring as his spooky, skeletal arrangements are--steel guitars are used as howling accents, not solos; he occasionally gooses his band to follow a train track rhythm, but is usually content picking out support on his hollow acoustic--it's Wall's concrete sense of time and place that gives Songs of the Plains an unusual resonance.

Magick Songs provides a genuine journey, and that propulsion is enough to power JEFF the Brotherhood through the moments when they indulge in hazy pastiche, assembling a washed-out watercolor version of '70s sci-fi that was already a faded memory by the time of their birth.

An inventive way of uniting her body of work, Warzone furthers her legacy as a promoter of peace and understanding.

Estelle's creative energy is manifest here, so much so that the constant rotation of featured guests becomes a distraction.

Flourishes, along with Kelly's sharply honed wit, keep the otherwise moody and slow Dying Star from seeming somnolent, and they're enough to help steer attention away from the album's appealing nocturnal sheen and to the songcraft, which is sturdy and enduring.

Where it differs from the debut is in lyrics that are heartfelt but deliberately less personal than Me.

Its sonic audacity is so bracing, it's relatively easy to forgive the lyrical stumbles, which crystallize on the dirty puns of "It Girl," but that's nearly beside the point because, unlike Love Stuff, Shake the Spirit never seems indebted to Elle King's idols. Instead, it embodies her own bold, bawdy heart.

T.I. is joined by a long list of high-profile guests, including Sam Hook on the gospel-kissed "Seasons"; Young Thug and Swizz Beatz on the moving "The Weekend"; and Anderson .Paak on the booming R&B-trap hybrid "At Least I Know." Triumphant album highlight "More & More" with Jeezy harkens back to T.I.'s 2000s sound, a booming, bass-heavy anthem that recalls his early hit "What You Know" and P$C's "I'm a King."

A Wonderful Beast feels more like a partially successful experiment than a fully realized meeting of the minds, but Johnson, Carney, and Branch complement one another better than one might expect, and this shows Johnson is still game to try new things and push the boundaries of his musical comfort zone.

Live from the Ryman doesn't change what you already know about Jason Isbell as a writer or a performer, but as a document of his many strengths, it's powerful and thoroughly entertaining, and is one more reminder that he's as smart and gifted as any songwriter at work today--and he can work the crowd like nobody's business.

Altogether, Suspiria is an appropriate accompaniment to the film, generating fear and discomfort as much by what's presented by Yorke as what's left to the imagination.

The set provides both reliably dreamy background grooves and, for the more attentive listener, frequent moments of discovery, making it seem more cutting edge than throwback despite its main inspirations.