Debí Tirar Más Fotos is a Puerto Rican triumph, as verdant as its foliage and as vital as its cause. Hollering “Yo soy de P fucking R” from the rooftops, Bad Bunny roots himself in his homeland, yet again proving himself one of his generation’s most potent voices.

Think of Mist is another affecting and impressive release from an artist who should have more eyes on her creations.

Although inessential in the context of Olsen's output, Cosmic Waves is a great idea well-executed, with the covers lending a needed gravitas and collectability to what would otherwise be a playlist project.

She's clearly having fun, making the music she wants to make and exploring new facets of her craft. Hopeful, romantic, and energetic, Armatrading offers a strong dose of joy in troubled times.

Franz Ferdinand feel more engaged than they have in some time on The Human Fear. It's some of their most self-assured sounding music, but thanks to its naked emotions and eclectic choices, it's also some of their most human-sounding music. All told, it's a respectable -- but not too respectable -- addition to their body of work.

The result has a warm, organic feel that meshes comfortably with Ringo's country influences without forcing the issue or sounding like the typical Nashville product of the 2020s. This music is mature in feel and outlook, in the best ways.

Lambrini Girls keep the levels of earned outrage cranked up high and apologies at near zero while continuing to take on topics like gender inequity, political and cultural atrocities, and bad behavior in general on their full-length and City Slang debut, Who Let the Dogs Out.

While it can feel a bit dry at times, it shows that Ashworth's songwriting is as strong and affecting as ever.

While in some ways more streamlined than their harsher early singles, British Murder Boys' debut album manages to be heavier and wilder in its own way.

While White Denim's stylistic touchstones are certainly at play on 12, the album feels less like a band working through their influences and more like one coming fully realized into their own.

It’s a beautiful, immersive, and above all, dreamlike set that easily rewards the investment in its length.

"Piece of My Heart," features guest vocals from Brent Faiyaz and an interesting mid-song shift to a lusher sonic palette. The production, while similar to his earlier releases, leans ever more insistently into R&B with subtler Afrobeats touches.

If made by a group other than them, might have topped year end list made by serious music publications. As it is, the record will likely exist as a lost treasure to be excavated years down the road to be loved and emulated. Saint Etienne have more than their share of great albums over the years, chalk this up as one of the best and proof that the band have become more than just a brilliant pop act.

While it doesn’t really come close to capturing the lightning-in-a-bottle power of Doggystyle, there’s enough of that original spirit mixed with a modernized production sound to make Missionary one of Snoop’s more enjoyable full album listening experiences in several years.

Trees Speak's curious world keeps expanding with every successive release, and TimeFold is just as fascinating as the rest of their discography.

Like much of Fennesz's solo work from Endless Summer onward, Mosaic is a vast, immersive effort that bases its abstract soundscapes in raw emotions.

While Why Is the Colour of the Sky? doesn't offer any particularly memorable tunes or sentiments, it's definitely a vibe, and at 35 minutes in length doesn't overstay its welcome despite becoming quite immersive.

In the Real World displays all of Bibb's gifts on a single album as a lyricist, guitarist, blues stylist, music historian, and contemporary singer/songwriter. At once poignant and hopeful, Bibb has upped his own creative ante here.

If there's one thing that's evident while listening to the refreshing, back-to-basics craftsmanship of Oh Brother, it's that the Goldsmith brothers clearly know what they and Dawes are all about.

Most suited for a contemplative Sunday morning, Small Changes soothes even in its many moments of unease. Whether the songs express loneliness and numbness, or heartache and dejection, each has a conciliatory effect, like Kiwanuka -- his voice more upfront than ever -- knows that anyone in vaguely similar circumstances can relate.

Fate & Alcohol is the kind of album that gets into your bloodstream and lingers, ever so slightly shifting the way you see the world and your place in it. If it really is the end for Japandroids, it's a farewell that feels like it could go on forever.

Vicious Creature is a wilder ride than might be expected -- at times, it feels like these songs have been pent up inside Mayberry for years -- but it's great to hear her own her music so fully.

Much like on her debut, every song here offers its own treasures, and Heynderickx still sounds like no one else.

From Zero is a decent effort that contains all the band's hallmarks, even if it's not the exact same Linkin Park that is known and loved.

Yeat's off-center linguistic twists and personality-heavy performances are still the stars of the show, and LYFESTYLE balances Yeat's enormous presence with guest appearances from Kodak Black, Lil Durk, and Don Toliver.

Coming from an artist whose personality was at times their entire appeal, Eternal Atake 2's lack of compelling identity makes it even more of a letdown.

For the most part, however, Bouquet is a hollow shell of the artistry that Stefani once displayed at every turn. As basic, personality-free country-rock records go, Bouquet is perfectly serviceable.

At times, The Neon Gate is transcendent, though it's easy to get lost in its labyrinth of unicorns, demons, and castle grounds. It's certainly a more challenging listen than their earlier albums, but Nap Eyes have never been a mainstream concern. To that end, a sprawling D.I.Y. art-pop composite merely feels like one stop on a larger journey.