Benny’s production work at times does a disservice to the material but, for the most part, Voyage is a welcome addition to the ABBA canon.

Corners are filled and silences left for dramatic effect. Sometimes the effect saturates, leaving certain numbers in the shadows of the grandest moments. .... However, some of the best moments come when Taylor sets aside the strings and choir, putting the focus on a driving beat.

It may have taken him a few tries but through Mary's Voice, Koster has finally found his own.

While shame is less ecstatic than its predecessor, it certainly doesn’t find the duo of Megan Markwick and Lily Somerville holding back – there are a multitude more complex and tangled feelings to be unknotted here.

The Libertines, with their second comeback, have chosen the other, “safe” direction, and sacrificed their integrity for it. Doherty sounds tired, abandoning nostalgia for kitschy gestures. Barât has fun, putting on his old jacket and playing rockstar, but he’s not rethinking his role as musician, or portraying growth as a songwriter.

The record is patient and delicate, but Chung remains a constant if not aggressive presence within every track, imbuing each with immaculate detail.

Much like DeJ, this is an album that occupies its own space, music to get lost in your head to. It may rarely run and may struggle to fully break through for that very reason, but it does more than enough at its own, proud, steady pace.

If nothing else, Attention Please proves Boris can do this softer pop-informed rock, but ultimately it holds more untapped potential than success.

Oceania isn't a great record, but it's a strong enough one, filled with songs that sound like the Smashing Pumpkins you remember.

Poster Girl is a step forward in a somewhat more concise direction for Larsson, but it could have used some fine-tuning to fully commit to its vision. She has created an album that is unapologetically romantic and fun but lacking in consistency production-wise.

The band has only strengthened their propensity for catchy, melodic pop hooks, and they come one after the other like a best-of Lite-FM programming block.

This new collection is most certainly not a pinnacle for the group, but it is a welcome rekindling of the same spirit and sonic magnitude that fueled their last undisputed gem, 2005′s Frances the Mute.

Veering from their signature alt-folk ditties chronicling the immediacy of transference and love, The Errant Charm presents a dense rendering of that blissful numbness promised by a life of aloof detachment.

As it stands, the record is too disjointed as a whole body of work, and you get the sense that when you return to it at a future point it’ll be to pick out the peaks and entirely ignore the lows. Such is life.

While there are some issues with the feeling of déjà vu, Unknown Rooms doesn't really do anything noticeably off the mark.

This record is a perfect soundtrack for any drunken destruction party, tantrum, or any other moment of great primitivism.

Sometimes pushing the envelope may be a grandiose gesture, other times more subtle, and while Wild Nothing may never be a Brian Eno, there’s certainly nothing wrong with being a Felt or Go-Betweens.

It's the beginning of something that is very promising--a surprise reinvention from an artist many had assumed they'd already figured out.

Even rapping alongside a ghost, Hav’s chemistry with P hasn’t lost a step and they feel as natural a pair as they ever did. Prodigy’s verses don’t feel awkwardly sandwiched in, instead naturally befitting each track, with each beat carefully curated to match his flow and tone.

It sounds like he's trying to sound less weird, when he doesn't seem to understand that this very weirdness is part of what made him so endearing as a solo artist in the first place.

They've ironed out their eccentricities, and produced their silkiest and least combative record in the process.

Ultimately what this record lacks is any sense of audacity or ambition.

Even though Supermigration is constructed as a whole, it doesn’t always work best in one sitting.

Grande’s immaculate outer shell both physically and artistically reframes her personal struggles through artifice, communicating relatability to her audience. Yet the lack of grit, grunge or goo keeps Positions distant from the listener, sitting far away, somewhere in the dark.

Sure, it's nice to hear such a talented songwriter working with ease and precision, but it's just not always that interesting.

52 minutes is a pretty damn lengthy runtime for a debut synth-pop album, but TRST flies by.

The record is at its best when it combines its pop sensibilities with its ambient leanings.

It’s a step forward, but one that feels entirely organic. Our little dramas and interpersonal frictions can often mask our own insignificance, but if we let that go then there’s beauty to be seen and Ricochet is an album that’s attentive to that fact.