The existence of all these already issued tracks makes this collection lean more towards the casual fan, though the more dedicated will probably want to hear the acoustic takes, instrumentals, overdub sessions, and rehearsals that make their official debut here. There are definitely enough quality rarities to make the duplication less painful.

It's not a grand-scale homage to Merle Haggard, but it comes from the heart and sounds like it was as pleasing to record as it is to hear.

Overall, Rebuilding is a winsome and rather wistful listen from a complementary pair of musicians who could certainly find their niche as occasional film composer

Maybe he isn't always happy, but The Sherlock Holmes Rhythm 'n' Beat Vernacular will make you crack a big smile and stomp your feet.

While some of Holy Island is danceable, some is dreamy, and some is pure atmosphere, these characteristics come together on the six-minute closer, "Morning Bell," which, with more crashing water sounds alongside footsteps and an actual bell, seems to leave us shipwrecked rather than safe in bed as we awaken from a dream.

It was composed and played by Coverdale alone, using electronic organ, modular synthesis, and piano, and it contains longer pieces which flow into each other, subtly evolving.

White doesn't aim for emotional grandiosity on Inner Day, but uses the album as a place to collect some spare instrumental musings and let them float around before one idea fades into the next.

For their second LP, they've boosted their pop-psych influences, adding to the atmospherics of this music without slipping into silliness, especially on the trippy coda "Gonna Catch You." And the strength of Bill Schalda's songwriting continues to impress here.

This is a solid showing from two still-prolific artists, and while none of it is as momentous as duo classics like "N.Y. State of Mind," "I Gave You Power," or "Nas Is Like," it's substantive comfort listening in the form of highly distilled boom bap.

Delivering raw, narrative‑driven songwriting that feels both prescient and relatable, as heard on standout cuts like "Plastic Cigarette," "Say Why," and "Appetite."

For better or worse, locket sounds like an album with a lot of producers.

Keeping the industrial tradition alive in 2025, CONFLICT DLC is another satisfying effort from the Los Angeles trio.

Adamson's music for SCALA!! sounds like ideal accompaniment for all manner of nefarious behavior; it's one of his most entertaining film scores and great fun for post-punk hipsters and psychotronic film freaks alike.

Scenes from Above stands apart from the guitarist's other Blue Note titles because of the gauzy strength, pliability, and openness of the ensemble in trusting and embracing the tender quality of Lage's music.

It's not always the most forceful or aggressive protest music, though it does have its harder, more bracing moments. Instead, much of it seems to search for the peace and tranquility that would be present in the absence of war and violence.

Not all of Kiss the Beast's risks pay off, but by letting his creativity run wild, Tellier defies the expectations of anyone who thinks they know his music inside and out.

EXPO can be like trying to hear through phantom barriers, but attentive listening is rewarded, and the project succeeds in reflecting a very contemporary fractured reality.

It's an engaging sound adjustment for the band that's unlikely to leave many fans of their label debut behind.

Piss in the Wind is fairly depressing at times, offering just a few short moments to perk up the 21-track runtime, which shouldn't surprise longtime fans of Joji's wounded, narcotic beauty.

It’s a long journey through a track list that approaches two hours of music, but if time does indeed reveal it to be his final album, The Fall-Off is a worthy swan song.

The Apple Tree Under the Sea takes more listens to fully appreciate than the effortlessly charming "girlfriend," springs' breakout viral hit, but it's undoubtedly a magical and inspired work.

The rapper's sound moves subtly between modes throughout the album, with touches of fantastical synths on the trap-pop tune "Call Back," R&B undercurrents on the infectious "Tiramisu," and a hybrid of Y2K-inspired pop melodies and simmering old-school radio rap production on "ATM."

Prizefighter is marginally better than its predecessor, dispelling some of the awkwardness of a long hiatus and reinforcing Mumford & Sons' reputation as purveyors of quality comfort food. It's hopeful, reflective, safe, and deeply rooted in the folk and country traditions the band knows intimately.

Moby's weary voice surfaces during the mournful "This Was Never Meant for Us," one of several songs that start out slow and sparse but eventually bloom when the strings hit. "Mott Street 1992" recalls the best of Moby's downtempo material, with dreamy breakbeats and lush synths conveying a slow-moving but expressive rush of feeling.

Like most remix collections, this should be approached as a bonus round for fans of the original release, but there's an abundance of worthwhile material here.

While Maria BC's songs can float away into the clouded ether at times (or sink into the sea), Marathon's more tactile sounds keep it loosely tethered to human interaction.

The 2026 edition of Squeeze, anchored by bassist Owen Biddle (who produced the album), makes music that's rich limber, and they make the most of the ideas the group's songwriters dreamed up a few decades back.

Into Oblivion lives up to its name by confronting the void with a cleansing blast of sonic malevolence.