This album as a whole doesn't quite match the consistent glories of such earlier albums as Hello Starling and The Animal Years, but he remains an artist eminently worthy of attention.

The influence of R&B is like a silky-smooth cloud over the proceedings, raining drops of liquid gold that permeate the music. Those looking for the energy of Da Trak Genius might be disappointed by the polish, but true footwork junkies will find shining moments worth drooling over

Nine pieces that come off even more inventive than the present company suggests.

Harding continues to keep listeners on their toes with Designer which, overall, is a unique, luminous record that's about whatever you need it to be about.

Vampire Weekend have never taken themselves too seriously (they've had plenty of critics to do so instead), and now that they're mostly unburdened from the narratives of their past, Father of the Bride finds them at their most relaxed, jovial and inviting.

It isn't inherently bad, but it isn't great either.

Deferring away from minimal guitar licks and harmonizing multi-part vocals, their new breezy and open sound is more energetic than ever, creating music that continues to reflect where they are in their lives.

Fishing for Fishies is the freest the band have sounded in a while, and the record is all the better for it.

There is not enough energy here for one to latch onto and so the EP passes uneventfully.

Grim Town is a concept in itself: it is a fictitious location, an embodiment of feeling that has been brought to life by the sentiment and memory that revolve around it. Through it, SOAK is able to explore emotion and turn it into something tangible.

Regardless of the song or sentiment, Finn's skill for detail never wavers. In that, I Need A New War ranks among his best.

Not a single cut on Oh My God feels out of place. Each song is effulgent in its composition and intention.

Tinged as they are by recent tragedy, each songs on In the End assumes a mournful, melancholic quality.

Kelsey Lu's Blood, pumping with movement and what moves us, we tiny wholes, maybe isn't a continent so much as it is a bordered body, graceful in its clunky fullness, jostling with every pothole, the cello its longing pores come to life.

Maybe Cuz I Love You isn't what Aretha Franklin would sound like, had she made a rap album, but Lizzo created a beautiful sonic journey through different eras of music, and for that, it deserves a little R-E-S-P-E-C-T.

Social Cues not an overly adventurous record, but it's the sound of a band who know their niche in contemporary alternative rock and how to deliver every time.

Life Metal retains all the traits that make Sunn O))) who they are, yet intertwined with a spark of unmistakable vibrance that lifts the spirit, even in the midst of such abyssal depths.

Taut and built upon arpeggiated synths coupled with a prominent rhythm section, the album pokes fun at our over-stimulated reality, while commenting on the struggles we face to retain individuality and authenticity.

Once fast and abrasive, Wand are softer and more thoughtful on Laughing Matter; the fuzz and distortion are no longer a main feature, but rather tools used to add layers of texture and sound alongside rhythmic guitar and evocative keys.

Raw Honey is a seductive and catchy pop record bearing its '60s rock influence openly and proudly.

The subject matter is profoundly dark, but the songs somehow come across as lithe and inviting.

Sulphur English is an extremely meditative album that requires further listens to appreciate everything that it does, one of those rare musical experiences one can have with a metal record, and it's not to be missed.

When compared to last year's Music Is, it's nice to hear Frisell in a live setting and with a solid partner: as result, it's more spontaneous, less polished and more engaging.

On V, the Budos Band give fans a new, granite dimension to their craft, while keeping things head-bobbingly and anthemically familiar.

These songs don't sound forced or half-baked, they often beg for the repeat button to be tapped. Melodically, he's never been more engaging or accomplished, because he opts for experimentation from the musicians around him, which include Irglová, rather than revert to the habit of strumming his acoustic guitar into oblivion when the energy fizzles.

With Ribbons, it is clear that Bibio is trying to take the best parts of his music over the years and bring them together into one concise, but eclectic, album, and on more than a few moments, he succeeds beautifully.

It's a super-charged R&B record, laced with throwback Motown/Philly grooves, that hits hard but fails to land a knockout blow. It seems to be a case of not being able to fully satisfy the hip-hop heads, the R&B fans and the amorphous genre-less Venn diagram in between.

She crafted something challenging, mysterious and memorable. Gorgeous was simply a by-product.

The partnership of Stephen Ramsay (Young Galaxy) and Jace Lasek (Besnard Lakes) offers up five songs in tectonic waves, their instrumentation carefully modulating into a slow-burn intensity.

It certainly has a strong first half, opening with "Eve of Destruction" and "Bango," a pair of high-energy tracks that play to the Chems' strengths. ... Similarly, just-okay tracks like "We've Got to Try," while boasting some exciting elements, seem b-tier in light of past triumphs. That said, even b-tier work from the Chemical Brothers is worthy of interest--an opportunity to respect one's elders.

As with so much of Jurado's work, In the Shape of a Storm is simple in its construction, but panoramic in its impact.

His sixth album, Ambitions, continues to refine this style, offering up a tighter, more focused version of his sometimes sprawling tendencies. Although some may miss his more esoteric touches, this feels like the natural evolution.

Overall, Cosmic Wind is free of obvious flaws. But while it's a pleasant album, there's no song distinct enough to elevate it from passive listening.

Free Spirit is Khalid's coming-of-age story: it's well-constructed, but already feels too predictable at this point.

The added lyrical depth takes Optimal Lifestyles from just another party record to a genuine reflection on living life one six-pack at a time.

Love Keeps Kicking doesn't really break any new ground; it shares themes with recent releases from artists like Superchunk and Natalie Prass. But Martha's goal is more about making you feel than think.

What drew people to Tuttle's music to begin with was that delightfully dissonant combination of sweet singing and monster-shredder guitar playing, and that's just not what this album delivers.

At the heart of it, Morbid Stuff just still sounds like friends having fun and making catchy, cathartic punk anthems for teens and almost-adults alike--offering a brief, but much needed respite from the hell that is everyday life.

Brutalism finds Pierce at his most confident, musically, but his most vulnerable, personally. He's able to explore new sounds without worrying about expectations, and open up about emotions that he's never touched on in his music before.

On Egowerk, the Faint seem to have accepted their place in questioning the perpetual struggle.

Most of the tracks allow room to breathe before going into a freefall decent of multi-influenced experimentation. Often times it's a rather subtle marriage of jazz and hip-hop ("That Don't Make It So"), gospel and funk ("Time and Place"), soul and folk ("Goodbye Reason, Goodbye Rhyme").

As a listening experience, it's a dense one, but never weighty.

Titanic Rising may draw inspiration from the past, but it's ultimately a clear-eyed look at love, catastrophe and hope that's perfect for the present moment.

It will perhaps be a surprising listen to fans expecting more upbeat material, but if you can surrender to the slower, weightier swells of this album, you might just find yourself floating.

If Selfless had the producer disappearing into the commotion of modernity, sublimating himself among multiple narrators, here, he's retreating inward to rediscover who he is, each swirling entry rendered from a more subdued place of quiet contemplation.

Strait is doing what most contemporary country artists shy away from, which is successfully bring back the real deal. He is effectively and triumphantly making traditional country music cool again.

Besides the remastering work and a detailed 40-page book with notes and photography, it is producer Nick Phillips' decision to present the recordings chronologically that is key to this collection's value proposition. Hearing the material organized for the first time by session, as opposed to original LP release, provides additional perspective on a master entering his prime.

Empath is by no means a shortcut to deciphering all of Townsend's output, but its incredibly hard not to marvel at the way in which he wields these influences to exceed the confines of his "progressive" qualifier--not to mention the sheer enormity of it all.

When We All Fall Asleep, Where Do We Go? is a debut record that showcases a bold artistic vision and a willingness to move beyond the boundaries of pop conventions.

On his Late Night Tales, Floating Points shows off his exceptional taste and curation skills, assembling a captivating set of songs that test just how "chill" a chill-out compilation can get.

At their best, the band use these chances to explore in moments of pure creativity. At their worst, they meander aimlessly, the live music equivalent of listening in on a conversation that was never really that interesting to begin with.

If you need an entry point into an incredibly potent piece, Gibbons and company offer a take on Symphony of Sorrowful Songs that lingers.

The Road: Part II is doubling down at its finest. The sixth studio album from UNKLE is nothing short of a musical odyssey, and takes special care to bring back the prestige of the playlist. Split into two acts, Lavelle masterfully builds a beginning, middle and end to each section, moving "from light to dark, from brute force to tenderness" in a way that documents the highs and lows of being out on the road.

The album is somewhat lacking in range, but otherwise, Agora offers no evidence of compromise. If anything, Fennesz turned that bit of adversity into artistic license.

Side Effects is largely devoid of these big bombastic moments, save the seven-minute incision "NY Money" that centres the album. Nevertheless, White Denim hurtle through the record's nine songs (as brief as many of them are) at a pace that can't help but keep the listener engaged and excited for what comes next.

Fans of Animal Collective, Avey Tare and the psychedelic sound they are so strongly identified with will find much to enjoy here. On the other hand, Avey Tare cannot be said to be pushing boundaries or taking many risks here, other than on final track "HORS_," which shows hints of newer experiments into electronic music that could be developed further in the future.

Cohesive and eclectic, Ancestral Recall is a sonic expedition to remember.

With On the Line, she leans into the deeply personal, and gains a benchmark addition to her catalogue.

Although Apparat has expanded his sound with help from his friends, LP5 stands as a singular achievement.

Tracks like "Roses Are Falling" and "Take You Back (The Iron Hoof Cattle Call)" are solid entries to the classic country canon of Glen Campbell and Loretta Lynn, while his impressive vocal range helps keep the album varied. His breathy croon drives erotic lovers' ballad "Big Sky," while his formidable belted falsetto elevates "Winds Change" beyond mere Smiths pastiche.

Let's Try The After isn't a rehash, nor is it a rebirth. It's a move into the future by a group who know themselves. These songs are confident, seeking, and created of a love for communicating the essentiality of life--what better way to step into the unknown?

They're the kind of songs you pull out once a month as reassurance that the mundanity of normal life can be beautiful, and/or we are all in this together. That's true today and it will be true tomorrow.

From start to finish, GREY Area reveals a young rapper who has seen success in her career, but is still sorting herself out in her real life.

Blending themes of politics and modern science into his fashion of storytelling, My Finest Work Yet is a true tour de force.

Yes, most of us listeners won't understand the Nigerian Ibibio language lyrics that she assuredly bellows and purrs on grooving songs like "Nyak Mien," or "Kuka." But Williams' masterful delivery, not to mention the band's deft playing, more than get the point across throughout this fantastic album.

Juxtaposing the escape provided by club culture's immediacy with the harsh realities confronted in the lab, Significant Changes sets a reality check to something danceable, but its success is wholly reliant on Jayda G's balanced presentation and steadfast commitment to both missions, tonal shifts like "Orca's Reprise" providing chill-out wind-downs for the party while the club anthems provide some sorely needed release.

The steep conceptual angle imposes a significant hurdle on casual listening, but Treanor rewards engagement with hypnotic, off-centred rhythmic cycles, and elements like the Nauman sample only represent a small portion of the runtime (Lancaster's assertions fall off before the two-minute mark).

What emerges through this permeable landscape is an ecosystem all its own.

This album is an advancement rather than a return to form. Despite their previous effort struggling against the weight of the band's dormancy, this album is a moving experience that brings with it a sense of fading youth.

La Dispute are more or less doing what they've always done. They're just continuing the refining process, whatever that is, for better or worse.

Clean rock tracks that deliver an immediate high, while still growing and unfolding over repeat listens. Lyrically, It's Real relies on a brute force, if not a particular nuance.

Miss Universe is an intriguing and smoothly constructed record. Groove and melancholy exist simultaneously in Yanya's work, providing listeners with no single answer to the questions she poses.

What appeals to you about this Strand of Oaks effort will likely depend on which side of this spectrum you fall on--in the heartland or out in space. That's a divide that Eraserland creates, putting it somewhat out of sync with itself, but the title track brings those worlds together beautifully.

As temperamental as the band may be, for those willing to indulge the band's proclivities, High Anxiety is a highly enjoyable filth-encrusted bludgeoning and thrilling catharsis of angular grumping.

Un Autre Blanc leaves everything out there and sees him go out on top.

Punk is a huge step forward for CHAI, and easily one of the best albums of the year.

Lux Prima certainly isn't Karen O's most urgent or explosive work, but it all sounds exceptionally lovely.

On Plastic Anniversary, Matmos make a perfectly indestructible album from pure indestructible chaos.

Groove Denied isn't the game-changer fans hoped for, but it's also not the disaster Matador expected. It's just your average Stephen Malkmus album... now with more electronics!

Acts like the Cinematic Orchestra are sometimes dismissed as background music. To Believe refutes that completely. Its gentle warmth makes the work accessible. But once you've pressed play, there is no ignoring it.

Hexed is better than its predecessor, I Worship Chaos, and certainly marks one of Bodom's better efforts of late. Old-school fans and newbies alike will be sure to find enjoyable aspects, but will quickly figure out which songs to omit when crafting their next workout playlists.

Aside from a few less-than-strong features, Rap or Go to the League allows 2 Chainz, a veteran rapper, to use his powers to acknowledge a picture much larger than him--it's one that's rooted in his past, but is planting the seeds for the feature.

With For Lovers, Octo Octa has delivered a set of tracks that are not only dance-floor-ready, but deeply personal and moving, creating a listening experience that is ultimately fulfilling and one that will be urging you to revisit it more than a few times.

Helado Negro has managed to craft an emotionally powerful classic with This is How You Smile.

Instrumentally, there's a flare and excitement that was lacking on previous work. Each song is unique, rarely applying the same formula twice. Fortunately, she's ensured every musical choice, structural or instrumental, serves a purpose. ... Stella never beats around the bush, and because of that, there is a magnetism to this album.

What's impressive about Girl though is how strong Morris's vocals have grown, along with the maturity and uniqueness of each song. It's clear that Girl isn't a sophomore slump, but rather an album worth investing in.

Basinski's latest effort is ambitious yet remains rooted in what he does best: instilling a multitude of visceral, yet ambiguous, feelings within his listener.

It's all good, but none of it is great. Still, if this is merely the first taste of an eventual vault series of releases from Townes Van Zandt's musical archive, it's more than enough to make us hunger for more.

Sasami is a gifted writer who is careful to develop arrangements that heighten the emotions of her songs. Listeners will relish the detail poured into her debut, its polish not too shiny to obscure the raw experiences that its songs are drawn from.

Its meticulous self-production frames new lyrical pathways from band leader Yannis Philippakis, who seeks to channel the anxieties and fears felt the world over in light of our crumbling political systems and ecological crises. It's a tall order to wade into such essential yet complex themes, ones that Philippakis felt a duty to engage with.

It's a reclamation of a history that often doesn't tells stories about black cowboys or black musical innovations. However, it is a recollection of what inspires Solange, and more importantly, how she wants to inspire the next generation from Houston.

Though it may seem as though she's yet to fully embrace her uniqueness in mainstream spaces, there are plenty of moments on Sucker Punch that suggest Sigrid is on her way.

Asmara, Gaika, Bon, Baby Caramelle and Nunu all make contributions to the disc, as do rappers K-$ and K-Rizz. Too often, they're at cross-purposes. The album is so lacking in continuity that it fails to sustain either a groove or the listener's attention.

Ultimately, Gunna sticks to his guns and delivers a solid effort that lives up to all the hype. He may not be the most innovative MC, but he continues to craft great bodies of work, which is what will cement his career, at the end of the day.

Few would mistake White Stuff for golden age Royal Trux--the vocals are more subdued, the songwriting is more straightforward, and anyone looking for something as confrontational as "The Banana Question" won't find it here. But hearing Hagerty and Herrema stay true to their ethos after 30-plus years offers its own satisfactions. Consider the comeback complete.

The crystalline vocals and dazzling harmonies that TEEN have become known for are replete throughout, and ultimately there are more great than good songs, with the best coming in the latter half of the record.

Weezer's latest is an utterly skippable collection that'd be entirely unremarkable if not for the fact it was released by Weezer.

It's a globetrotting affair: the wah-wah brass and dhol drums of "Mitote" make for a savoury blend, the Indigenous chants and percussion reverberate in title track "All My Relations," the mid-'70s Stevie Wonder/Herbie Hancock-styled funk of "Mescalero" hits the spiritual spot, while the smooth sax of "Seyewailo" offer up a sonic take on bliss.