Placenta's sound, while immediately recognizable as a work of Niño's, goes very deep and very wide due to his familiarity, respect for, and reliance on the gifts of his studio cast.

Throughout Eight Pointed Star's various stylistic touchpoints, artistic allusions, and consistently lyrical melodies, Allen effectively merges the cerebral and the sentimental on an album that's ultimately about different kinds of love.

The preponderance of previous Ziggy Stardust reissues and Bowie at the Beeb collections does rob this set of some of its surprise because so much of this music has been in circulation. That said, this set does indeed contain some excavated rarities, highlighted by "So Long 60s" -- Bowie would rewrite this folky number into the bracingly modernist "Moonage Daydream" -- and two unheard songs from the album's early days.

Although Wings are augmented by an orchestra on occasion, One Hand Clapping feels rough, free, and immediate, lacking the polish that gave Wings Over America its sheen. The loose feel isn't limited to the performances themselves. McCartney punctuates the rockers with vaudevillian throwaways, alternating between classics like "Baby Face" and originals like "I'll Give You a Ring," not so much concentrating on smooth transitions as indulging his every whim.

Why Lawd? is neither crowded nor compromised by the extra voices. Like the debut, this is primarily an R&B record with Paak's variably frisky and lovelorn singing voice and Knxwledge's warped sample-based productions as the basis.

Fine Art is a major step up for Kneecap, an already unique group who have finally delivered on their early promise with a bold, relevant statement.

Though wit and sincerity have never been opposites in Grant's music, he's never brought them -- as well as beauty, cruelty, anger, and love -- together quite as potently as he does on The Art of the Lie's portraits of a society tearing itself apart.

It may not be especially optimistic, but it's certainly powerful and inspiring, and we probably need that more from Cale than forced cheeriness, a skill he need not acquire this far into his career.

An album where the energy is intrinsic and impossible to miss, but deeper complexities hide in the details that keep changing.

For an album that spans multiple styles and features a different guest vocalist on every song, Always Centered at Night is consistently passionate and spiritual.

If Model suffers from anything, it's sometimes seeming a bit formulaic in the process, but the good news is that the band is really good at catchy unlucky-in-love songs.

Goat Girl's wealth of ideas is one of their biggest strengths, but Below the Waste lacks the focus that united their music into a cohesive whole on On All Fours.

This is the best and most satisfying album Buffalo Tom has made since they returned to recording with 2007's Three Easy Pieces, and if it sounds different than these men did when they were in their twenties, it sounds just like who they are, and in this context, that's a gift.

A welcome standout in Eels' body of work.

The album teeters eloquently between introspective folk, twangy roots pop, and bashing psych-rockabilly numbers. Musically, the album is a nice balance of the sounds and influences he's pursued throughout his career.

Gravity Stairs may feel cozy, but it never feels lazy. Some of that surely lies in how the band chooses to camouflage its strong melodic core with fluid, shifting surfaces -- a decision that winds up emphasizing sound over song while also directing focus to the familial chemistry of the band.

Full of dark-hued emotions that speak to the self-examination and deconstruction Garcia went through, Gemelo is also bright with passion and artful musical experimentation.

Kaytranada continues to refine his sample-laced mixture of house, compas, hip-hop, and other cross-continental styles of dance music with Timeless.

Brat's supersaturated sound amplifies her music's swaggering highs and vulnerable depths. .... She delivers some of her most engaging and mature music.

Jon does sound more robust than he did on, say, 2020. It's also true that Bon Jovi isn't making music that would push their singer to his limits. Forever is filled with ballads and midtempo anthems that would sound bigger on an adult contemporary station than an arena. The subdued nature is accentuated by Bon Jovi's proud embrace of nostalgia.

I Hear You varies in quality, with some songs clearly more successful than others, but overall, it's a fun, adventurous record confirming Peggy Gou's status as one of the more distinctive figures in club music.

Darning Woman is at its most captivating when it doesn't even sound much like music at all, but more like the grinding gears of an overactive brain processing confusion and bliss.

Stylistically, Kravitz may not be trying anything new, but his decision to prioritize good vibes above all else generates an unusually satisfying record from the rocker.

This is one of the most rewarding and indulgent releases in Bring Me the Horizon's post-Sempiternal era, a big payoff for fans willing to delve into the lore and a pure thrill for anyone who likes to feel heavy music both in spirit and body.

The bulk of Gunna's boastful wordplay is less inspired than normal, though that shortcoming is mitigated by a handful of bravely reflective and revealing deep cuts.

Generally apologetic, reassuring, and hopeful, Chaos Angel is a comforting album that features some of Hawke's hookiest and most self-assured material yet.

Ship to Shore is one of the tightest collections he's made in the past quarter-century, exhibiting a wide tonal palette and a vitality belying his 75 years.

The album carries a lightness that's emphasized by its brisk running time. That might mean The Border, unlike A Beautiful Time, doesn't quite feel like a final chapter but rather a welcome coda restating Nelson's strengths with casual ease.