Fever Longing Still leaves no doubt that he hasn't lost his touch, and it's a treat for anyone who has ever loved his work -- or even for folks who've never heard him before.

Dorji is simply one person making music in an isolated environment while the world is constantly in a tumultuous state, and his is simply his own feverish, spur-of-the-moment reaction to everything that's going on.

While Umbilical is still a nightmarish depiction of destroyed emotions and blind rage, its combination of production subtleties and light nods to '90s influences peel away just enough intensity to make the album Thou's most coherent and engaging work yet.

GNX is a pillar of reflective realness, a flag planted in the lineage of Black musical visionaries, a silhouette of the West Coast in the high beams of fame -- and Kendrick's most speaker-knocking set to date.

Though all of the players were experienced professionals on-stage at this point, the collective energy that they created together was still relatively new, and Live at Fillmore East, 1969 offers an unvarnished view of that very specific excitement, along with the humanizing jitters and joviality that came along with it.

Retrospective: Selected Recordings 1973-2023 is essential listening for Ferry fans, illuminating the broad scope of his musical taste, from glitter rock to synth pop to jazz and beyond, revealing through it all that he has remained as indelible as ever.

Live in Keele 1977 is one of the better entries in the Can live series, proving that their on-stage power was still in full effect, even as they were approaching the end of their run.

The Way Out of Easy equals its predecessor, but it also extends the quartet's musical vocabulary and sonic identity. While they may not be able to play ETA any longer, their musical signature and group communication prove they can make magic anywhere.

It's a more lighthearted chapter in the ongoing Papa M story, and some of its moments are among the most enjoyable in the project's entire catalog.

Mahashmashana, despite its weighty poeticism and nostalgic sonic grandeur, feels rooted in the here and now. Tillman is still a keen and sardonic observer of the human condition, but here he directs the proceedings with a gravitas that finally feels earned.

It's a lavish, well-considered and executed set that makes for quite the splurge for a Beatles fan with a nice phonograph set.

[The] Last Will and Testament is among Opeth's most adventurous and sophisticated outings. Like a cross between Watershed and In Cauda Venenum, it's heavier and more adventurous than either while bringing the band's past, present, and future under a single creative umbrella.

With Shawn, Mendes has crafted an album of sustained confessional intimacy, one that continually invites you to listen closely.

Nobody Loves You More is some of her finest music yet, and while any of these songs would've been a standout with one of her other projects, it's all the sweeter that they're hers alone.

An even more clearly defined rendering of the group's sound.

Keith Streng's vocals and guitar, Peter Zaremba's vocals and keyboards, Ken Fox's bass, and Bill Milhizer's drumming still lock together like a jigsaw puzzle, with even more enjoyable results.

The studio cuts find bandmates Roland Orzabal and Curt Smith in a similar contemporary mode as on their previous release, melding classic elements of their core sound with modern pop flourishes. .... On-stage they sound rich, dynamic, and detailed with a classy touring band that brings the entire catalog, new and old, to life.

Pursuing their independence has led to some of their most widely appealing songs, and Sniff More Gritty is the musically inventive, emotionally direct, razor-sharp album Du Blonde has always had in them.

On Nite Owls, he manages to pull all of these varied experiences and influences together in a cohesive way that's unmistakably his own.

The Crying Out of Things is a powerful high point in the Body's massive discography.

They’ve never been the most consistent band, making mistakes and careening down the wrong road in pursuit of transcendence – something they have managed to achieve a few magical times -- but they’ve never sounded this irrelevant or out of touch before.

The group's reflective take on grunge- and shoegaze-flavored indie rock is still in play -- such as on the shimmery surfaces of "What You Told Me," the churning distortion of "Something Exciting," and the echoey delay of the bittersweet title track -- but with a more polished net sound resulting from sessions produced by bandleader Soph Nathan, her Big Moon bandmate Fern Ford, and none other than longtime PJ Harvey associate John Parish.

A triumphant live album, Resuscitate! is as much a celebration of the evolution of Callahan's music as it is the shared experience between musicians and audience.

In their own oblique way, Rhetoric & Terror's ambling experiments feel confrontational; when so many artists are unwilling to flout the most basic musical conventions, Hemphill and company are still very much on their own path.

Chromakopia is less of a cohesive statement than Tyler's fans are used to hearing; it's erratic and candid at once, a strange pressure cooker of boasts and doubts that falls out of step with its deftly sequenced and thematically tight predecessors. But these are the sounds at the precipice of change -- perhaps it's fitting that Tyler can't quite package himself as neatly this time around.

Ecce Homo registers as strong, wildly creative, focused, and vulnerable. It may be his solo masterpiece.

Fun, naughty, and a little nasty, 3AM stretches the typical party-friendly novelty sound that Confidence Man perfected on their first two albums, showcasing artistic growth with a laser-focused intent to keep your body moving late into the night, when it feels like anything can (and will) happen.

In the end the album is strangely uplifting and yes, cleansing, as he washes out the sadness, pain, and suffering he's been through and ends up on his feet, bruised but still ready to carry on. By the end of the record, listeners are liable to feel the same way. There are no barriers or guardrails here, it's an unblinking gaze into the abyss, and victory over that bleakness, that can be shared by anyone brave enough to tag along.