For fans craving more of Kylie's excellent early-2020s output, Tension II delivers, even when it pales next to more immediate cuts on Disco and the first Tension.

Although the songs here are solid enough and likely to sate fans, the overall effect is a soundscape that's somewhere in the in-between, suiting the limbo of Evergreen's ruminations but not warranting superlatives within Soccer Mommy's growing catalog.

The delicate acoustic closer "Stick Man Test" makes the entire journey end up feeling more like a soundtrack than a standard album.

Yeat's off-center linguistic twists and personality-heavy performances are still the stars of the show, and LYFESTYLE balances Yeat's enormous presence with guest appearances from Kodak Black, Lil Durk, and Don Toliver.

In their own oblique way, Rhetoric & Terror's ambling experiments feel confrontational; when so many artists are unwilling to flout the most basic musical conventions, Hemphill and company are still very much on their own path.

The group's reflective take on grunge- and shoegaze-flavored indie rock is still in play -- such as on the shimmery surfaces of "What You Told Me," the churning distortion of "Something Exciting," and the echoey delay of the bittersweet title track -- but with a more polished net sound resulting from sessions produced by bandleader Soph Nathan, her Big Moon bandmate Fern Ford, and none other than longtime PJ Harvey associate John Parish.

Most suited for a contemplative Sunday morning, Small Changes soothes even in its many moments of unease. Whether the songs express loneliness and numbness, or heartache and dejection, each has a conciliatory effect, like Kiwanuka -- his voice more upfront than ever -- knows that anyone in vaguely similar circumstances can relate.

The studio cuts find bandmates Roland Orzabal and Curt Smith in a similar contemporary mode as on their previous release, melding classic elements of their core sound with modern pop flourishes. .... On-stage they sound rich, dynamic, and detailed with a classy touring band that brings the entire catalog, new and old, to life.

Keith Streng's vocals and guitar, Peter Zaremba's vocals and keyboards, Ken Fox's bass, and Bill Milhizer's drumming still lock together like a jigsaw puzzle, with even more enjoyable results.

It's a more lighthearted chapter in the ongoing Papa M story, and some of its moments are among the most enjoyable in the project's entire catalog.

Dorji is simply one person making music in an isolated environment while the world is constantly in a tumultuous state, and his is simply his own feverish, spur-of-the-moment reaction to everything that's going on.

As on every new Telescopes album, the differences can be subtle, but as Halo Moon winds down, the overall feeling is decidedly softer, more contented, and less tortured than previous efforts.

At times, The Neon Gate is transcendent, though it's easy to get lost in its labyrinth of unicorns, demons, and castle grounds. It's certainly a more challenging listen than their earlier albums, but Nap Eyes have never been a mainstream concern. To that end, a sprawling D.I.Y. art-pop composite merely feels like one stop on a larger journey.

"Piece of My Heart," features guest vocals from Brent Faiyaz and an interesting mid-song shift to a lusher sonic palette. The production, while similar to his earlier releases, leans ever more insistently into R&B with subtler Afrobeats touches.

“number one girl” and “drinks or coffee” address unrequited love and ‘talking stages,’ “3am,” “Gameboy,” and “toxic til the end” see ROSÉ weaving around red flags, and “too bad for us” and “dance all night” finish the cycle with post-breakup mourning and the search for closure.

Franz Ferdinand feel more engaged than they have in some time on The Human Fear. It's some of their most self-assured sounding music, but thanks to its naked emotions and eclectic choices, it's also some of their most human-sounding music. All told, it's a respectable -- but not too respectable -- addition to their body of work.

While it can feel a bit dry at times, it shows that Ashworth's songwriting is as strong and affecting as ever.

Wide-ranging yet restrained components make for a quietly cinematic experience, as Jamieson goes on to examine other angles of love.

It’s an album worthy of its co-signs from the Boygenius camp but one that stands solidly on the merits of its own uncompromising creation.

The album's overriding ethos is expressed more clearly on tracks like "I Reach for You in My Sleep" and closer "The Rest of Our Lives," whose warm, layered harmonies, nimble fingerpicking, and gentle background shimmer evoke and encourage sweet dreams.

His second full-length studio album, it's a more optimistic and energized experience than the first, cranking up the accessible pop sheen on his utterly soulful, powerhouse anthems.

With Sharon Van Etten & the Attachment Theory, the singer/songwriter fully embraces an icy, mechanical post-punk palette, one that still incorporates elements of guitar rock (and is part analog) but is distinguished by drum machines, eerie synths, and prevailing electronics. It's a sound that's well-suited to the album's anxious and alienated songs.

They still manipulate vocals and apply effects the way they've been known to do, but it often sounds closer to the work of a full band rather than a pair of producers.

The feel of Ebo Taylor Jazz Is Dead 022 is loose, free, and joyous, and highlights this generous spirit with excellent songs and virtuosic musicianship.

Enter Now Brightness is not only a title but a philosophy on an elegant set of songs that find Reid adapting just fine, thanks, at least with the help of treasured loved ones and music itself.

It’s a different way to experience some familiar tunes, and yet another window into one of the more vibrant periods of Young’s ever-shifting creativity.

The 12-song set ends with the dialogue-heavy "Home Movies (1989-1993)," which, like much of the rest of the album, is full of affection. If there's a knock on Rarely Do I Dream (and it's a light rap), it's that Rarely Do I Dream sometimes seems like an album for an audience of one, like a personal collage of photographs and cards on a pinboard behind the laptop monitor in the den.

The Afrobeats-tinged "Happy People" and "We All Win" spread joy to a communal level. A couple other songs, while inviting, are over-sugared, and certain production choices, mainly with regard to vocal effects, don't play to Nao's strengths. Hearing her so assured and exultant is no small consolation.