Rave isn't a radical departure from Bogdan's earlier work, but it is a welcome reminder of what we've been missing out on for over a decade, and to anyone addicted to his singular style, it's much cause to rejoice.

Shifting perspectives as it changes colors, Deluxe Hotel Room is proudly, almost defiantly urban; the songs are concerned with a decaying relationship and the production is sophisticated, purposely blurring lines between styles and eras.

With all of the organic classical instrumentation employed here, the electronic side of Maps is significantly downplayed, lending Colours the added weight of strength in acoustic numbers, an effect that has consistently delivered emotional resonance to listeners for hundreds of years.

Persuasion System signals a bit of a different approach for Haley, but not so much that it will alienate anyone who enjoyed his earlier releases.

Imagine Asbury Park, New Jersey encompassing an entire musical planet and you get an idea of what Little Steven and the Disciples of Soul are doing on Summer of Sorcery, and if you dig rockin' soul, this should be right up your alley.

On The Best of Luck Club, Alex Lahey adds a few new tricks to her repertoire without losing touch with what she was already doing so well, and based on this music, it's a safe bet that she'll be delivering more great songs in the future.

Even when the songs tend towards harrowing, questioning themes, I Love You. It's a Fever Dream still sounds romantic, soft, and even a little bit naïve. The deepening emotional content that Matsson laces into his familiarly sweet songwriting makes this set of songs one of his most resonant and revisitable.

On Grey Area, it feels as if everything has come together in perfect unison, resulting in one of the strongest rap albums of 2019.

Fortunately, Jepsen is just as committed to her music as she is to the ideal of true love, and the way she's grown without sacrificing her uniqueness makes Dedicated a master class in what a 2010s pop album can be.

Pike's solo material is loose, scattered, and unpredictable, and while it isn't quite as focused or engrossing as his work as part of groups like Szun Waves or Triosk, the unmistakable sense of mystery makes it worth checking out.

While there are a couple other relatively lively passages on the album, the overall effect is decidedly thoughtful and stoned; Living Theatre leaves listeners with the drifting, droning "Distant Episode" and the spare, interlude-like guitar instrumental "Angelino High."

Injecting their trademark sound with fresh flair, RAMMSTEIN is one of the band's best efforts, a potent distillation of all the elements that have endeared them to fans for two-and-a-half decades.

She retreads just about every move she has made before, even though the crop of new fellow songwriters and producers almost outnumbers the familiar likes of Ester Dean, Pierre Medor, Christopher "Tricky" Stewart, Rodney Jerkins, Jasper Cameron, and Theron Thomas.

I Am Easy to Find has loose ends and picturesque detours in addition to a revolving cast of characters and a suggestion of mess that give the album an appealingly unkempt sense of humanity.

Warp and Woof is a series of short sprints compared to the marathon of Zeppelin Over China, but it covers a lot of ground at a brisk pace and it's a whole lot of fun.

The key to 3 is that the group might be less noisy, but ultimately they're no less weird, and if the album sounds like they're still making sense of their new configuration, their eyes are still on the buzzy prize, and this is a great, challenging, off-center rock album.

The Secret of Letting Go retains that balance of experimentation and pure feeling, and sounds perfectly at home within Lamb's discography.

Cohen's voice maintains the album's consistently floaty quality through these sparser tracks, making for a relentlessly dreamy set that's lost in thought and desire.

Unlike Kicker, which worked as a short, sharp blast to remind people the Kids were still around, Problems is the sound of the band figuring out how they want to sound in their new incarnation and pretty much nailing it.

For all its thematic focus and political commentary, Wheeltappers and Shunters is quintessentially Clinic; at once pointed and oblique, its bad trips and cheap thrills are a subversive rebuke to a sanitized notion of the past, present, or future.

While PROTO could be impressive for its groundbreaking nature alone, Herndon's meditations on the relationship between humans and increasingly sentient technology are moving and filled with a sense of wonder that makes a rewarding coexistence with AI seem more than possible.

Cerebral yet soulful, Any Random Kindness strikes an ideal balance for Hælos, a significant step forward in their evolution.

Racism and its side effects, from theft of culture and land to willful distortions and ignorance of black achievement, weigh heaviest on Woods' mind, yet her voice maintains a sweetness, unfurling like ribbon over the rhythms.

Ultimately, Young Enough outshines a promising debut, delivering a steady mix of summery earworms and angst.

Offenders and highlights aside, Here Comes the Cowboy might have been trimmed down to a solid EP or mini-album, but as a whole it just doesn't live up to the standards DeMarco set on his first three albums.

Pile hold on to all the anxiety and fury of youth here, but present their dissonant squalls with a mature, metered patience that just adds to the slow-boiling listening experience.

As a whole, 10,000 feels indebted to a particular school of '80s and early-'90s underground rock, but pleasantly so, and with its own bouquet of freshness and distinction.

Compared to the astonishing Konoyo, Anoyo does feel a bit like less focused variations on the same ideas, but as it stands, it's still an intriguing, otherworldly blend of ancient instrumentation and technological exploration.