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.

If there's a knock on when i paint my masterpiece's 200-to-16 approach, it's that the album's recording style is its most cohesive trait, with the track list sometimes seeming like a Bob Dylan exercise, followed by a Frankie Cosmos op, a quasi-tango study ("dogs playing in the backyard"), etc. -- even if that playful, adventurous spirit is also part of its charm.

There aren't many surprises here, for better or worse, and it's a pleasant, straightforward collection of reliably rocking jams.

As a whole, it extends not only Younger's musical reach, but also readily reflects the influence of her mentors in this, a music that could only be born in the 21st century, and as such, it's a gamechanger.

With this album, Neale manages to translate existential torment into strange and beautiful sounds, yet again progressing with the chimerical vision of rock & roll that's uniquely her own.

Lonely People with Power finds Deafheaven incorporating the most successful parts of that album into their usual sound, resulting in one of their strongest works.

Headlights is his most unassuming, back-to-basics (Neil Young, Elliott Smith) record in years.

The slightly dubby and distorted "What We Are and What We Are Meant to Be" is the band's own acknowledgement that they're challenging themselves and pushing themselves forward.

The producer expertly incorporates space and silence, with dramatic pauses capturing the listener's attention, and when he does go full throttle with intense beat patterns and distortion, the impact is maximal.

Stylistically, Friday remains as hard to pin down as ever, but in terms of ambition and drive, she's never been more focused.

The eclectic set is built around the concept of a convergence of multiple realities administered by a mystical jukebox.

Seemingly willing to dip a toe in every genre. It's certainly interesting, and often successful, though a sense of continuity is missing from the album as a whole, which feels almost like an anthology. Still, there are plenty of highlights.

With The Future Is Here and Everything Needs to Be Destroyed, the Armed gleefully close the door on whatever shreds of accessibility they dallied with on their last few albums before it, but this unrelenting barrage of excitement and glorious confusion is a welcome replacement.

Throughout BITE ME, Rapp serves up plenty of wry pop charisma, which is more than enough to sink your teeth into.

If Not Winter is the work of an artist who thinks and dreams big, and it secures Wisp's place as one of the acts defining the sound of shoegaze in the 2020s.

These recordings are not just charming, but along with the other studio out-takes, portray a young artist who’s excited about an opportunity to realize his songs to their highest potential, and motivated to do some homework in preparation. Famously, Drake’s music was gloriously, beautifully sad, but The Making of Five Leaves Left helps show that the experience of creating it was a thing of great joy.

Like so much of Hanson's music, these songs come on strong from one direction while hiding deeper peculiarities and weirdnesses below the surface.

Digging its claws in after repeated listens, the result is a more nourishing experience that could have longer legs as time goes on.

This may be somewhat of a disappointment for expecting more from the vault: regardless of how good these selections may be, there's only seven remixes and just one demo of a "new" song that wasn't on the original Ray of Light. For more forgiving fans, however, this release offers a fascinating peek into the era, providing more intense, trance-y forays for some much beloved tracks.

Night Moves still know how to spark your emotions, and cuts like the opening "Trying to Steal a Smile" and "Almost Perfect," as with all Double Life, have a bittersweet romanticism about them that pairs nicely with the band's clubby, strut-ready attitude.

Tere are precious few singer/songwriters with Patty Griffin's level of craft, empathy, and wisdom, and nearly every album she gives us is a gift. That's absolutely the case with Crown of Roses, and it demands to be heard.

Going Down To The River … To Blow My Mind works well enough that one hopes they'll change their minds about this being the end of their trilogy.