White-Gluz controls her songs with a steady hand and a crystalline vision on Motherhood, and takes No Joy's always-restless creative spark to unimaginable new places.

Respectfully done, Project Regeneration, Vol. 1 is a fun and technically proficient reminder that Static-X were ahead of their time and perhaps a little underrated. Through this cathartic process, the album serves as a love letter to Static and their loyal fan base, a respectful tribute that both honors his legacy and adds an unexpected new chapter to their discography.

The original lyrics tend to be powerful enough to fit in with the extensive quotations, whether Mhysa is referencing a black spiritual, Lucille Clifton, or Janet Jackson.

At its best, Names of North End Women is a beautiful creative rebirth.

It's a promising debut that should appeal particularly to fans of its electro-pop-minded contributors.

Show Pony is his declaration that if he's offered the spotlight, he'll claim it as the place he deserves to be, and on the basis of the talent and audacity shown here, only a narrow-minded fool would bet against him.

At only 25 minutes with another part in reserve, this effectively leaves listeners wanting more. Even certain tracks -- like a feel-good interlude with backing that resembles mid-'70s Earth, Wind & Fire -- are tantalizing on their own.

Ultimately, A Celebration of Endings fits with Biffy Clyro's long-standing knack for combining stadium-sized rock uplift with an undercurrent of wry post-punk thrills.

Mature and consistently satisfying, Limbo is a statement-making highlight in the rapper's discography.

While nowhere near as accessible or crowd-pleasing as the first A.A.L. album, 2017 - 2019 is a compelling mixture of anger and beauty, and one of Jaar's strongest efforts.

The Making of You is a marvel of skillful songwriting, savvy use of the studio, and talent that can find new magic in old voices, and it's recommended for folk-rock enthusiasts past and present.

Rife with beautifully intuitive pathos, Recover is the sound of the Naked and Famous turning feelings of heartbreak and desire into powerfully relatable pop moments.

The result is a deeply felt production informed by the group's long-standing love of ambient music, psych-pop, and kinetic, '70s-style Krautrock.

Neither rap nor pop, punk, or rock in any traditional sense, Sneaks continues to keep it fresh and original on another strong outing.

The small army of musicians continue to merrily pursue their muse, unconcerned with the human logic of time and space.

The second half is far too weighted to favor ballads. So much so, in fact, that the poignant closer, "Longest Lasting Friend," is almost lost in the shuffle despite its arresting quality. That's a small complaint, however, Holy Moly! is strong, relentlessly creative, and restlessly self-assured in its aspirations.

Cumbia Siglo XXI is easily Meridian Brothers' most satisfying outing to date. While no less insane than its predecessors, its musicality is as abundant as it is adventuresome. Further, it pays tribute to cumbia even as it exaggerates and satirizes it with almost familial warmth and affection.

In its own way, The Consuming Flame: Open Exercises in Group Form is a fitting companion piece to Plastic Anniversary. Like that album, it's a winning celebration of what makes Matmos special, and a tribute to the boundless possibilities of creativity -- especially when it's shared with others.

There's plenty of great, satisfying twangy rock on Twelfth, which is what we've come to expect from the Old 97's. There's also a level of self-awareness and maturity that's new to them, and that makes Twelfth a brave and valuable release from this great band.

She and her fellow writers and producers have put together the type of album that drowns out the world and keeps giving with each play.

Candid's mellow transcriptions and restrained approach may or may not draw praise from admirers of the source material, but they're a must for fans of the group's distinctly reflective demeanor and bubble-wrapped ambiance, which, guided by Ehrlich's soothing presence, succeed in making each version their own.

The Neon is stacked with what Erasure does best: Sharp melodic hooks, efficient, hip-shaking beats, and yearning lyrics that both relate and motivate.

Good Luck, Seeker is not one of the great Waterboys albums, but it is an adventurous one with enough standouts and strange magic to go around.

Freeze, Melt is a daring move for the band; they aren't exactly turning their backs on the huge, happy sound that earned them their glittering place in the dance rock firmament, but they do bring their sound down to earth in admirable, emotionally affecting fashion. In the process, they prove that they don't need to make music that's great to dance to in order to make music that's great.

Imploding the Mirage feels like more than just one of their best albums, but a triumphant and invigorated rut-reversal that shines with a hard-won confidence.

Source, with its adventurous, kinetic, and sophisticated approach in wedding modern composition, improvisation, and production to rhythmic and harmonic traditions, is one of the very best.

The album sounds even more emphatically Bully, with many of its hooky and grungy, visceral tracks examining the end and aftermath of a relationship.

Down in the Weeds avoids being either a phoned-in nostalgia trip or a wildly new direction that would alienate fans. Instead it continues Bright Eyes' evolution without skipping a beat, and manages to be one of their stronger records in the process.