Krüller is one of the most accessible-sounding Author & Punisher releases, but it's still vast and uncompromising.

Released almost exactly two years after that EP [Texas Sun], Texas Moon is spacier and a little moodier, and Bridges' writing this time gets as personal and spiritual as it does in his solo work.

Because of its lack of vocals, The Patience Fader sounds a bit more open and free than A Son, and somehow manages to say more with less.

While As I Try Not to Fall Apart probably won't pull in any new fans, it has a sultry, back-of-the-club intensity that speaks to White Lies' ever-deepening artistry.

EarthGang's rapping could often take a backseat to their grandiose production and arrangements, but Ghetto Gods balances quality vocal performances and detailed instrumentals.

Another step in the direction of propriety may have been one too many, as it stands Backhand Deals slides right into the corporate power pop timeline with just the right amount of vim and vigor.

If PAINLESS is less ambitious and attention-grabbing than her debut, it sees Yanya makes strides in being more affecting.

Perhaps cloaking her personal experiences in the guise of a fictional narrative allowed Parton to allude to her past in this fashion, but no matter the inspiration, these moments are the grace notes that help make Run, Rose, Run a satisfying listen on its own terms.

"Right 2 Left" (with Melé) constructs a tribal house banger using a sample of Busta Rhymes' "Dangerous," which ends up being a good idea, although it feels somewhat unfinished at only two and a half minutes. Still, the mixture of proper hits and slight experiments makes for a well-rounded album, and Diplo contains some of the jet-setting producer's best work since the Hollertronix days.

It makes for a fine second album from a band that could have easily been nothing more than a one-trick pony.

The good news is they're clearly getting better at this, and there are plenty of compelling places the Districts could go next from this vantage point.

Raum feels a little bit more like a transitional work than the unexpectedly solid Quantum Gate, but that album seemed like more of an overt revisit of the band's classic sound, while Raum finds them taking more chances and exploring fresh ideas.

While some listeners are bound to mourn the loss of Mattiel's most retro-minded garage qualities, these latter songs attain a stylistic sweet spot between their most accessible and rebellious material, while still -- refreshingly -- completely defying contemporary pop.

Although Jacob's Ladder is one of the more idiosyncratic albums in Mehldau's discography, there's enough sophisticated and delicately rendered piano work here to appeal to his longtime fans.

Their formula hasn't coagulated yet, and the subtle changes to their sound mark a well-timed soft progression for the group.

This band have maintained a creative vision that's served them beautifully, and their commitment to the power of dynamics and finding the details of a song by leaving room to ponder the details and textures has led them to write some great material and also find unexplored landscapes in the work of other tunesmiths. Songs of the Recollection captures them doing the latter with grace and intelligence.

The record has a few interesting outlier songs, like the R&B-leaning Summer Walker duet "Difference Is" or the questionable country-trap experiment "Broadway Girls" with raspy hooks and twangy ad-libs by Morgan Wallen. For the most part, however, Lil Durk commands the flow of 7220 with emotionally complex lyrics that feel confessional and raw on more melancholic tracks like the Gunna-featuring "What Happened to Virgil" and out for blood on charged, confrontational moments like "AHHH HA."

Despite the overall trippy and feel-good nature of the set, there's enough for fans of any past era to find an entry point and enjoy the ride.

While the songs themselves are more uneven, Pillow Queens' sound is fully formed, with tracks including opener "Be by Your Side" hitting on all cylinders.

With guest spots from Margo Price, Billy Strings, Old Crow Medicine Show, Sierra Hull, Dan Tyminski, and Gillian Welch, Crooked Tree can feel a little busy, but the playing is reliably top-notch, and the songs, which approach trad-bluegrass themes from a female perspective, are both potent and timely.

Christian Lee Hutson manages to make you care about him and his life even as he artfully reveals his darkest side on Quitters, and while it's hard to tell if he thinks California really is beautiful or if he's one of the doubters, he tells his stories well enough that you'll follow this LP to the end as you try to figure it out.

Fans of 2019's Happy to Be Here will be glad to know that the project's sound is tweaked, not redefined, with Lindsay making her vocals more distinguishable from plushy surroundings without compromising their wispy, daydreamy qualities.

Hinting at more to come with a little more experience and practice, Growing Up is a heartwarming opening salvo that recharges the punk spirit for a new generation while recognizing, as they sing on the endearing title track, that "there's still a little more growing up" to do.

He launches into bristling pop-punk after the intro, and elsewhere offers honeyed hip-hop, convincing retro-soul, and a touching corrido, among other styles, refining his R&B-rooted bedroom pop throughout.

While Serpentina manages to add some fresh highlights to Banks' catalog, it never veers too far from her established formula, for better or worse.

Clocking in at over an hour, there's enough here for all types of fans to enjoy and rejoice that the guys have returned.

Keep your expectations properly adjusted and Spencer Gets It Lit will be an effective soundtrack to all manner of wild good times.

While it isn't quite as consistent as Keepsake, its finest moments are some of Hatchie's most exciting work.