In some ways, Evangelic Girl Is a Gun doesn't feel quite as personal as yeule's previous albums -- the lyrics don't always delve into specific subjects such as dissatisfaction with their own body -- and its sound feels a bit more comfortably retro compared to the dystopian future shock of the previous two albums. That said, it's easily some of their most accessible work, and one of the most potent distillations of their chaotic yet introspective songwriting style.

A deceptively artful examination of, and expression of, depression.

Even as Low’s sound twisted into new forms over the years, they never quite got into bluegrass territory, and it takes a few songs to acclimate to the combination of high-spirited acoustic music and Sparhawk’s emotionally powerful but usually subtle style.

Berninger's incisive turns of phrase and refusal to isolate the bitter and sweet are the governing forces throughout the record, even on songs like the jaunty "Junk," a defeated love song that imagines flowers sprouting through his own grave in Indiana.

Sincerely is best experienced from front to back. After the first seven songs lightly splash and bob while Uchis sings of gratitude, devotion, and self-doubt, song eight, "Fall Apart," delivers a knockout blow of heavy psychedelic soul.

Capturing the inspiring spark in bygone visions of what the future could be is one of Stereolab's greatest strengths, and the brilliant ways they do this on Instant Holograms on Metal Film don't just live up to their legacy -- they push it forward.

It may not be as consistent as some of their other albums, but there's still quite a bit of Sparks' witty tale-spinning for fans to enjoy.

Room on the Porch is a beautifully produced, modern, deep blues and roots album drenched in an all-inclusive Americana, generosity, and good vibes.

Ken Carson makes music to be overpowered by and to lose oneself in its sheer magnitude, and More Chaos accomplishes that once again.

Fans of contemporary punk upstarts like Lambrini Girls, Turnstile, Amyl and the Sniffers, and the Linda Lindas should find plenty to love on Are We All Angels, a refreshing dose of no-frills, youthful punk energy.

Everything Must Go pushes the group's creative boundaries while maintaining the relatable songcraft and inclusive vibes that have helped build Goose a loyal fan base.

Full of memorably wistful melodies as well as potentially relatable struggles, Hers feels like an instant classic, if one that's also outside of time.

["The Moon Explodes" is] a perfect example of the witty resilience that makes Metalhorse inspiring and often brilliant.

As on Sketchy.'s finest tracks, Brenner and Garbus deliver emotionally direct, musically cohesive songs that don't sacrifice any of their time-tested creativity or intellect.

It's a major work composed of gritty beauty, intention, realization, and hope; it belongs on the shelf next to albums by Virginia Astley, Marianne Faithfull, and Patti Smith.

Throughout Animaru, Semones and her band play with dynamics, dramatic pauses, chord voicings, harmonics, and a steady stream of surprises -- the closer is a waltz -- resulting in a memorable debut that's much more likely to delight than challenge.

A resounding return, The World Is Still Here and So Are We suggests the planet is that much better with Mclusky back on it

Pink Elephant feels like an album Arcade Fire "had to" make, one that addresses a very public period of the band's history without getting too deep (or deep enough at all) into the matter, like they just want everyone to forget about it and move on to the inevitable next album cycle.

Two of the more transfixing songs feature Yorke using his lower register. On the torpid ballad "The White Cliffs," he duets with himself, switching from nightmarish visions recounted in falsetto to stern if soft baritone responses like "This is your punishment" and "Everything is out of our hands." Yorke's lead voice thrums throughout "The Men Who Dance in Stag's Heads," a highlight.

Sleep Token's music, at the core, is absolutely gorgeous escapism executed by a highly-proficient, imaginative outfit. They've leveled-up to the mainstream majors on Even in Arcadia, a heart-rending beauty that is wholly unexpected.

Fancy That is some of Pink's most carefree work, but it's still highly emotional, and its songs are as well-crafted, catchy, and creative as anything else she's done.

Even more so than woods' other albums, GOLLIWOG is a challenging work dealing with grim yet truthful subject matter, but it's fascinating and enjoyable due to the rapper's brilliant writing and focused delivery, as well as innovative production from his collaborators.

Often earnest, anguished, and euphoric, Ten Crowns delivers the catharsis while keeping it real, so the occasional clunky lyric or corny dance trope can be -- in line with the album's themes -- forgiven, especially when it's intentional.

Finely nuanced shades of gray are all he needs on Lake Fire, a formidable, beautiful return to Loscil's fundamentals.

Confrontational in ways quiet and loud, Abyss is a testament to Anika's fierce artistic independence and gift for haunting moods.

His brand of wistfulness is appealing, never cloying, with just the right amount of windswept drama and to tickle the heartstrings.

PUP have made albums a lot more fun than this, but for sheer impact and focus, this feels like their best work to date, even if the recently dumped might find it a bit too relatable for comfort.

Here's to Thackray seeing a payoff beyond this brilliant and enriching work of art.