While Rose's music certainly has indie crossover appeal, in the grand tradition of classic country, How Many Times is a relatable pick-me-up for those who may be feeling down.

tUnE-yArDs haven't sounded this infectious since Nikki Nack, and Sketchy. captures the inflection point where frustration becomes positive action in funky, happy, angry, and inspiring ways.

The upshot is that Justice is one of Bieber's steadiest releases, among the easiest to play from start to finish. The only overdone aspect is the low self-esteem and unworthiness the lyrics either suggest or flatly express in almost every song.

The final two tracks are a well-deserved comedown from a truly thrilling, energetic sequence.

On the whole, Green to Gold reshapes the Antlers' once somber and brooding chamber pop into something bright and smiling. The songs strip away the sharpness and volatility the band reveled in on earlier albums to reveal a pleasant glow that was all too often hidden in the shadows.

Collected, the songs are simultaneously familiar and surprising -- a blend that always was among the chief attractions in Cornell's work -- and while there are echoes of the original recordings here, he shapes each tune to fit his voice and contemplative bent. The inherent power in Cornell's voice can still be heard, but what lasts is the passion and intelligence, emotions that make this a bracing if bittersweet experience.

Notes with Attachments is a strange record, but it is also welcoming thanks to an unhurried pace, colorful yet economical production, and restrained dynamics, all carried by the canny, warmly humorous musical instincts of its creators.

Fun, wild, and addictive, The Lunar Injection Kool Aid Eclipse Conspiracy builds upon 2016's already-impressive Electric Warlock and winds up being one of Zombie's best.

While the materialism and egocentrism in some of the tracks no doubt clash with the film, matters such as survival, self-defense, and power are more frequently raised. Critiques of issues related to white supremacy, from police brutality to voter suppression, aren't far behind.

The album's 17 tracks address subject matter including breakups, grief, and struggles with mental health with a mix of pop, R&B, and alternative stylings and song titles like "Good in Goodbye," "Sour Times," and "Stay Numb and Carry On.

What's striking about the compilation is how a roster as diverse as Eric Clapton, Shaggy, Mary J. Blige, Annie Lennox, Herbie Hancock, Sam Moore, and Julio Iglesias doesn't sound especially eclectic; when the common denominator is Sting, all the guests adapt to his particular ways.

Consistency is a virtue in this case: maybe Starr does little more than deliver what he promises, but he does deliver, and that reliability is a comfort in times of uncertainty.

More rankled moments include the circular anthem "I Don't Care" ("I gotta do what I want to"), but these are outweighed by hard-won gratitude and affection on a set that above all delivers on big hooks.

Great Spans of Muddy Time makes for an immersive, profound experience that will reward repeat listens.

It can all be a bit much at times, but this all-in approach to creativity has been VanGaalen's M.O. from the start and his talent remains something to behold.

With Chemtrails Over the Country Club, Del Rey shows her softest moments can be her most powerful.

As a whole, Freedom Fables is a beautifully integrated, physical approach to song and narrative; it's a musical adventure as substantive structurally as it is enjoyable viscerally.

A standout among her already impressive catalog, The Moon and Stars is utterly beguiling with a luster that only deepens with repeated spins.

It's hard to tell what Smerz are going for on this perplexing mess of an album, but there's clearly a lot of potential to their ambitious fusion of modern classical, R&B, and experimental club styles -- they just haven't made their vision clear yet.

Road to the Sun showcases Metheny's developed musical hallmarks in compelling new and bravely wrought compositions, expertly performed by kindred spirits and modern masters.

77-81 is a brilliant testament to their visionary impact and lasting importance.

If the format doesn't seem as fresh as it did back in 2016, when Full Circle was the first record released from the sessions, that's only due to it being the fourth in a series of albums. On its own merits, Still Woman Enough is strong and vibrant, a testament to Lynn's enduring gifts and place in the firmament of 20th century country music.

There's never a sense that Lake Street Dive are preaching with heavy hands, and cuts like the bluesy "Hush Money" and the lyrical "Nobody's Stopping You Now" have a universally relatable feeling. That they also evoke the classic album-oriented work of artists like Fleetwood Mac and Carly Simon speaks to Lake Street Dive's ever-deepening sense of songcraft.

If The Pet Parade doesn't break new ground, it does offer comfort and compassion wrapped in a honeyed, effortless indie folk that honors the project's now-long tenure.

Tighter than So Good and packed with just as many catchy tunes, Poster Girl is yet another big step forward for the artist, adding a dozen fresh anthems to her catalog and maintaining her position as one of Sweden's finest pop exports.

Even at its most bizarre and feral, Pick a Day to Die conveys a sense of positivity and excitement as the collective remains in the constant state of rediscovering themselves that they've made their life's work.

Future Times is a meditation on an uncertain era, and while it gets uneasy at spots, it takes solace in the healing powers of nature and remains optimistic that goodness will prevail.

Not every collaboration is as strong as the sum of its parts, but Painted Shrines is a wonderful example of two like-minded artists bringing out the absolute best in each other.