Despite being only six songs, Days of Ash packs quite the punch and reminds listeners how good U2 can be when they have something to say.

Her most purposeful album since The Teaches of Peaches, No Lube So Rude is a sexy, witty, and urgent statement that reaffirms she's still a trailblazer.

Refreshingly introspective, stylish, and transparent.

A really strong album, one that finds the band circling back to the reasons they started the group while also exploring new, very interesting territory.

Moby's weary voice surfaces during the mournful "This Was Never Meant for Us," one of several songs that start out slow and sparse but eventually bloom when the strings hit. "Mott Street 1992" recalls the best of Moby's downtempo material, with dreamy breakbeats and lush synths conveying a slow-moving but expressive rush of feeling.

Prizefighter is marginally better than its predecessor, dispelling some of the awkwardness of a long hiatus and reinforcing Mumford & Sons' reputation as purveyors of quality comfort food. It's hopeful, reflective, safe, and deeply rooted in the folk and country traditions the band knows intimately.

The rapper's sound moves subtly between modes throughout the album, with touches of fantastical synths on the trap-pop tune "Call Back," R&B undercurrents on the infectious "Tiramisu," and a hybrid of Y2K-inspired pop melodies and simmering old-school radio rap production on "ATM."

The remastering is bright and crisp, and it stands the test of time. .... The songs intended for 15 Big Ones are a bit of a mixed bag, with covers of songs like "Mony Mony" and "Running Bear" falling flat, due to the band's basic disinterest in what they were doing. On the other hand, the cover of the Righteous Brothers' "Just Once in My Life" is quite beautiful. .... Another reason to get excited about the collection is that tracks from the banished Adult/Child get a proper airing here.

There’s a stillness throughout Laughter in the Summer, a mood that can sometimes read as somber. The overarching feeling in these songs, however, is one of beaming gratitude, and that keeps the album feeling less like an expression of mourning and more a slow-moving outpouring of joy and acceptance.

She's full of fire, uncommonly dexterous both vocally and in emotion -- scathing, instructing, loving, and funny as all get out. All 360 degrees of the Jill Scott experience are presented here.

EXPO can be like trying to hear through phantom barriers, but attentive listening is rewarded, and the project succeeds in reflecting a very contemporary fractured reality.

Delivering raw, narrative‑driven songwriting that feels both prescient and relatable, as heard on standout cuts like "Plastic Cigarette," "Say Why," and "Appetite."

Delivers a denouement and a love letter to fans with an assured set rooted in the genre's sonic hallmarks.

Tenterhooks is one of the darker and more internal SSPU albums that stresses atmosphere over energy, which will hit listeners who enjoy their more thoughtful and introspective material, but may miss fans craving cathartic ragers and catchy anthems.

Few bands conjure the heady, dream-like atmosphere of '60s psychedelic rock as believably and with as much passion as England's Kula Shaker. It's sentiment they underscore on 2026's incense-soaked Wormslayer.

If you're a fan of Williams, there are no surprises here, just ten more great songs to add to a catalog that might one day get the credit it's due for the pop star's contribution to, what else, Brit-pop.

Ultimately, Can I Get a Pack of Camel Lights? represents a deepening of Geologist’s already unique musical language. He uses the hurdy gurdy as an entry point for many of the songs, but always proceeds to strange, new places from there.

While the album covers a wide range of heavy sounds, Blackwater Holylight designed the album so some of these intensities bleed into each others while some intentionally upset the balance. It’s a perfectly architected expression of uncertainty and stress, one that only occasionally offers a reminder of hope somewhere in the distance.

It's an engaging sound adjustment for the band that's unlikely to leave many fans of their label debut behind.

Despite its multi-purpose recording approach, widely varying tempos, and ever-changing moods, it's Ratboys' most cohesive album yet and one that will likely connect with those fruitlessly seeking closure.

The weird detours and stylistic wanderlust result in an album that somehow makes a lot of sense as a larger statement, with all the dissimilar sounds contributing to a listening experience that demands attention and doesn’t let go once it takes hold.

For better or worse, locket sounds like an album with a lot of producers.

On One Mississippi, the songs, production, and inspired performances offer honest emotions and direct messages, elevating this record above his other recordings, and most 21st century albums in the genre.

Not all of Kiss the Beast's risks pay off, but by letting his creativity run wild, Tellier defies the expectations of anyone who thinks they know his music inside and out.

Selenites, Selenites! offers the creative vision and fortitude to celebrate community and the human spirit.

A thrilling showcase of Daniel’s compositional abilities, Can Such Delightful Times Go On Forever? makes a compelling case that beauty and expression are essential tools for much more than mere survival.

It's all fine and good, but it lacks the excitement of the Buzzcocks' salad days.

LAROI reveals a growing maturity and surprising pathos on Before I Forget. He brings you into his heartbreak and holds you there.