This set reveals their mature, fully developed musical language expanded by sonic and harmonic invention.

He has certainly harnessed the zeitgeist.

As a major development from Duffy's early, solitary bedroom recordings, it might be reasonable to expect a bit less of that meticulous complexity here, but they manage to retain that sensibility and arguably bring it to new levels by including the participation of instrumentalists like Blake Mills; Daniel Aged (Frank Ocean, FKA twigs); Tim Carr (Perfume Genius); and Gregory Uhlmann, Josh Johnson, and Anna Butterss from the improvisatory supergroup SML.

Given the multitudes within It's a Beautiful Place, it's not surprising that it can take a while for all of its pieces to click together. Nor is it a surprise that this album is more of a grower than Everyone's Crushed -- Water from Your Eyes aren't interested in smoothing out their edges or repeating themselves. They're compelled to imagine it different

Like most of Yorkston's best work, Songs for Nina and Johanna succeeds not only because of his talents as a songwriter, but by his choices as a collaborator. He knows when to step back and let others shine.

The Collapse of Everything is a powerful, sometimes harrowing work that lives up to Sherwood's lofty standards.

A triumph of ambition and heart, each of its songs feels like an epiphany.

Legacy: The Creedence Clearwater Revival Years (John's Version) is a potent reminder of how many great songs Fogerty wrote in his salad days with CCR, and shows he still has the energy and spark to give them life, but he might have done a better job of demonstrating the latter if he'd come up with a good batch of new tunes.

Going two for two in the 2020s so far, Deftones maintain their position as one of the greatest bands of their generation. Throw on a pair of headphones and get lost with Private Music.

Songs in the Key of Yikes is proof that Superchunk hasn't lost a step and remains a one-of-a-kind band.

It's not a fun listen by most metrics, but investing some time in its lonely chill eventually reveals a deeper side of DeMarco's musical vision, one of slow rumination that's just as valuable as the combustible spark of his earlier days.

Love Is Like is a return to the core soul and R&B influences that marked the band's early albums, a change that finds singer Adam Levine and bassist Sam Farrar largely taking the productions reins, along with contributions by JKash, Federico Vindver, Elof Loelv, Bobby Love, and Rio Root. The group also wrote a handful of the songs together for the first time in many album cycles. All of this lends the record a unified vibe.

Together, the ten pieces combine to create a surprisingly cohesive whole.

It’s good to see Tyler having some real fun with it, but for a 28-minute project that should be all killer no filler, DON'T TAP THE GLASS warrants more bite.

For all his weariness, Gibbs remains compelling and cogent. This time, JID, Larry June, and Anderson .Paak are the guests, and the track with Paak is (no surprise) both the hookiest and most in tune with Gibbs' heavy ambivalence.

Wishbone is a complete arc, capturing both the elated, tidal-wave euphoria of falling in love and the bittersweet comedown off that wave. And it's not just the feelings of love, but the tastes, the smells, and the thrilling sweaty intimacy of being close to another person in every sense that Gray embodies.

Atmospheric Hammond organ and country-styled guitar help set a sunny stage for songs such as the sultry "Rope You In"; the lusher "Contact High," with its acoustic and 12-string electric guitar, Ace Tone organ, and rim clicks; and the breezy and lilting "Hot Headed," an affectionate tune that regrets giving in to anxiety sometimes.

Molly Tuttle has always had smarts and talent to spare, and on So Long Little Miss Sunshine, she's using her gifts in ways that are new to her, and the risks pay off handsomely; this may not make her into the next Taylor Swift, but by all rights it should win her the larger audience she certainly deserves.

The album may not offer the radical reinventions of Goldfrapp's duo work, but it doesn't need to -- Alison Goldfrapp pioneered these sounds, and on Flux, she's still doing them with effortless elegance.

"Bad Dreams Summertime" is a standout among a truly immersive set, thanks largely to ghostly girl group-type backing vocals, shifting tonal centers, and lyrics that confuse time, imagination, and reality ("False recollections, the wrong soundtrack").

Interior Live Oak is both a little more moving than the wry songwriter's typical output and a little on the long side (among the 16 songs are a handful of six- and seven-minute tracks), although it may be just the thing for a contemplative Sunday afternoon.

ABOMINATION isn't only textbook Osees, it's a bracing reminder to wake up and rock out, channel anger into riffs and drumrolls, and be as punk as punk can be.

It's a marvel of design and execution that registers mostly as activated, unrelenting noise pop and invites listeners to discover something new and joyfully befuddling every time they listen back.

The 13-song set, which includes the streaming hits "Oneida" and "Nose on the Grindstone," combines Childers' alchemical blend of country, bluegrass, and folk with rich gospel harmonies and immersing ambient field recordings.

One of those songs, "Daisies," also involves the unmistakable Mk.gee, and for Bieber it's a career highlight, a gentle rocker conveying an ultra-rare combination of anticipation, patience, and empathy. More often, Bieber's direct and inelegant wordplay is at odds with the hazy sonics.

Berenyi has been an expert at pairing delicate sonics and pointed lyrics since her Lush days, but Tripla's experimentation and revealing songwriting make it a compelling highlight within her body of work -- and a testament to her drive to keep creating, no matter what.

It's not always an easy listen, but These New Puritans have made a career out of challenging themselves and listeners, a worthy pursuit that they continue here.

Without diminishing her legacy as the mainstream bounce ambassador to the world, this gospel turn ends up being the most meaningful and powerful album of her career to date.