Creating an atmosphere that's brooding, anguished, and at times ecstatic, Divide and Dissolve communicate their righteous outrage in a way that doesn't require words to be explicit and effective.

Unlike his previous albums, the play times on Dead Hand Control vary widely, with tracks sometimes transitioning into one another. It ultimately has the effect of a night out at the club or, more precisely, a series of 12" extended dance mixes à la the 1980s that are cued up among radio cuts.

The album feels like a departure: with its soft orchestral balm and sweet melancholic undertow, OK Human offers a singular, complete listening experience unlike anything else in their catalog.

If the musical qualities of Collapsed in Sunbeams suffer from a bit of sameyness by the end, the formula is a soothing, pleasant one with sentiment to spare and, as a debut, full of promise.

It would be disingenuous to say the Besnards had been on a downswing prior to this, but in wrestling with mortality they tap into a well of vital energy that makes the group appear revitalized and full of vigor.

While the album slowly gathers components and rhythmic complexity as it progresses, it remains cautionary in tone and, for Son Lux, restrained.

Even though the Body are clearly trying different approaches and continually pushing their sound into new territory, I've Seen All I Need to See still somehow carries an air of familiarity. ... Nevertheless, by doing away with some of the more extravagant, theatrical elements of the Body's past albums, the release is undeniably some of their most direct and punishing work.

The Blue of Distance refers to distant mountains appearing blue due to the scattering of higher-frequency light. An apt name for Saxl's meditative, ultimately wistful-feeling album, it also evokes its persistently immersive water themes.

Simply putting a group of barely-familiars in a room together doesn't necessarily guarantee collaborative magic, but Yorkston & the Secondhand Orchestra complement each other's strengths well on this richly satisfying matchup.

Even if The Last Exit is sometimes a little too wispy, it's still a fitting soundtrack for getting lost on the open road.

If emotionally unresolved, Ongoing Dispute does deliver on engaging hooks and rousing choruses, at least until that wistful outro, "Friends on Ice," which closes the album in a wash of chiming guitars and circular thought.

This being the Rhye album with the most layers, Milosh was wise to employ the brilliant Alan Moulder (My Bloody Valentine, Nine Inch Nails, the Killers) as mixing engineer. Every change pays off.

Palberta5000 is more mature than anything they've done before but just as playful, and more accessible while impossible to mistake for the work of any other band.

With Cooler Returns, Kiwi Jr. remains suspended in an alternate reality where it's always the last day of undergrad classes and a group of bookish housemates is hanging on a front porch waiting for a party to start around them. The sophomore semester moves with a little more intention and nuance than the freshman year did, but the year-end celebration is no less of a blast.

Apart from the foggy, piano-driven beatless interlude "Lido," the tracks pretty much remain in Bicep's familiar club-tooled mode, and while it can seem a bit formulaic over the course of an album, their consistency largely works to their benefit, and Isles sports several undeniable highlights.

Though it was stitched together from outtakes and covers, From an Old Guitar is a fully satisfying album filled with the spirit and vigor that has made Dave Alvin one of the enduring heroes of the Americana music community.

This is a warm, low-key affair, a record about family bonds and togetherness that gets by on its gentle, endearing vibes.

Overall, Weird! is an energetic breath of fresh air that doesn't sacrifice heart or a hopeful, supportive message, adding another jewel to Yungblud's crown as princeling of the outcast masses.

Cudi wrestles with the same struggles that have plagued him since he began sharing the complexities of his internal world, but at its best, Man on the Moon, Vol 3: The Chosen shows that years of struggle have yielded substantial growth.

This is a relaxed, generous affair, an album where the featured star and his guests defer not just to each other but to the songs they are singing.

It's not every day when a band makes a second album that's more thrilling than their debut, but Pom Poko aren't an everyday band. Their tricks are always in service of their songs on Cheater, and their excitement about the possibilities of their music is utterly contagious.

While losing some of the pop appeal of his previous work, Whole Lotta Red represents Playboi Carti coming into a new phase of his artistry, however jagged and disorienting the process may be.

The collaborators' willingness to take their songs unexpected places and shift gears multiple times within a single track is one of their most interesting attributes. The Helm of Sorrow continues to push the boundaries of their genre experimentation, and lands in even heavier territory.

These tracks are balanced by a few sparer intimate ones steeped in nostalgia and an uncertain hope. Throughout Two Saviors, Meek's uniquely kindly tenor conveys evocative phrases and settings that likewise stand apart from the crowd.

With Catspaw, Sweet has crafted an album that cuts deep and leaves a strong impression.

While similar in feel to her debut, Magic Mirror is a significant step forward for Charles, who really steps up her game here.

Shame sounds unstoppable on Drunk Tank Pink, yet they also find new ways to channel that energy.

Heaux Tales doesn't have the heft of Fearless, Love Me Back, or Reality Show, but few contemporary R&B LPs twice its length are as substantive.