Each song on The Bad Testament sounds old, yet somehow unfamiliar, a portrait of the outlaw country bad boy as an old man.

It's an album that sometimes benefits from its wealth of ideas but often finds itself trying to find its way back to a central one.

While the record doesn't necessarily break new ground, it succeeds in solidifying Unsane's rule as the kings of noise rock.

This is a rich and compelling record that deserves and rewards your close attention.

Full Closure and No Details feels more like a journey to the closure Cohen seeks through her songwriting than an answer itself — and what an important and journey it is.

Its first half features some of the group's sweetest pop confections since those massive singles, while its second delves into the muggy Barrett-isms of their more recent work.

Repetition in lyrics throughout Basic Behaviour amplifies the anxiety and restlessness that seem to fuel the record entirely. It begins to feel like an interrogation, the need to know, the frustration and a thirst for clarity. The melodies reflect these pangs, too, as the guitars twitch or tremble, trying to make sense of it all.

Firepower is exactly what you would expect of Priest almost 50 years into their career. It's well-produced, expertly executed and understandably quotidian.

As much as Championships is filled with nonchalant club/street anthems, it's also about healing. Tempered by both celebration and struggle, Championships shows the duality of Mill's world--one that still reflects on the past, but has made leaps towards his future--and that's perhaps the greatest win of them all.

Can You Really Find Me is smooth and velvety, rich like dark chocolate with the soul to match. Night Moves have truly come into their own with this record. The diversity shows an unparalleled confidence in their sound, while still having the gumption to switch it up.

Wu has elevated this genre and he excels at the DJ-set LP format. His ability to place artists that inspired him coming up into a more modern context is powerful. It celebrates the work and at the same time moves the rest of us to dig deeper into the history of this incredible music.

The 20-plus years of material featured on this record hold together with a remarkable consistency. 10:20 is far from being the sonic grab-bag of disconnected whims and ideas which would not have been completely unwarranted to suspect.

Whatever this record "is" in terms of its overall sound, it will appeal to a broad audience with its series of radio-friendly medium-tempo stompers and tender ballads. A solid debut effort overall for Townes.

There is little to be surprised by on K.G, but perhaps its recognizability is a testament to the band's certainty of who they are, what they are here to do, and their intention to not stop any time soon.

If the band's previous tunes were like a knife fight, this feels more like blunt force trauma. They used to land quick jabs; now they're throwing haymakers. Yet No Taste is also more dynamic and measured in its violence.

She at least is musically self-assured and fully realized on a debut as layered and meditative as Public Storage.

Neige's constantly evolving approach to songcraft means that Alcest's music, for better or worse, will never be what it once was. While Le Chants de l'Aurore doesn't reach the same heights as some of their previous works (particularly the intricate Kodama or the aforementioned Écailles de lune), the album is still awe-inspiring.

At its best, the album delivers contemporary counterparts to feminist folk classics, but the good moments are often rushed through for seemingly no purpose.

As a whole, Stardust is Brown's strongest album since 2019's uknowwhatimsayin¿. This is a concise, confident and encouraging body of work that will instill hope in fans for what's to come.

Saputjiji is not an easy listen; at times, it's downright ugly. But as the empire's war machine kicks back into high gear, Tagaq's courageous offering is a much-needed wake-up call.

The best moments on La Isla Bonita evoke the inventiveness of Deerhoof's classic albums and their ability to explore seemingly limitless possibilities within their own (admittedly unique) framework.

For as often as Impersonator threatens to dishearten, it's anchored by an equal and opposite force: a humanity so earthbound and maternal that it washes away your petty sorrows in a birdbath of optimism.

Those who go into this expecting more of the visceral and mind-bending productions that added to the novelty of Varmints might be disappointed, but listeners with no expectations are bound to be pleasantly surprised.

With Mayberry's recent participation in the discussion of misogyny on social media and in music, it's easy to view these songs through the lens of feminism, but it's just one of the many compelling facets of Every Open Eye's overall scope.

Their latest offering confirms the act have found footing with their sound, as III revels in minimal electro glitch while an orchestral current weaves beautifully throughout, Ring's vocals lending soulful, poignant reflection not often found in contemporary electronic music.

On Furfour, Grumbling Fur prove once again that they have the chops to inhabit multiple worlds at once: they're natural songwriters, but also aurally astute sonic innovators. This record delivers on both levels.

A collaboration with names such as saxophonist Wayne Shorter, percussionist Brian Blade and bassist John Patitucci sees a the self-professed "jazz dropout" helm a strong project of original material, save for a sweet rendition of Duke Ellington's "Fleurette Africaine" and a bulletproof interpretation of Neil Young's "Don't Be Denied.

It's tempting to imagine what it might sound like if Cloud Nothings took these experiments further and gave their sound a more radical reinvention. As it is, The Shadow I Remember perfectly encapsulates everything the band do so well, and hints at what might be to come.

Lacks the clever subtlety of innuendos on songs like "Can I" (featuring Tory Lanez) and "F&MU." "Bad News," "Everybody Business" and "Open (Passionate)" are the album's standouts, showcasing elements of Kehlani's strongest contributions to music thus far, and highlighting her ability to make vulnerability a strength.

Atomic perfectly captures the band's recent progressions, ornate (the strings-centered "Are You a Dancer?" and horn-heavy opening track "Ether") or otherwise, and is undoubtedly one of the most consistent albums front-to-back from Mogwai's two-decade-long career.

Unrepentant Geraldines is personal and political and refreshingly void of marketing gimmicks or befuddling collaborations. Rather, Tori just comes bearing songs straight from the heart/head/hands/Hell.

The directness of Bully's songs--both emotionally and melodically--is their strongest asset, but it's tough to argue that Bognanno has any discernable weakness when it comes to her music.

Guilt Trips is as unclassifiable as it is dazzling, a fine debut from an artist who continues to progress.

Recording at Daptone studio has given the fledgling singer-songwriter some welcome vitality, boosting up the mid-range; its live-to-tape setup gives an immediacy to Rault's insouciant meld of psychedelic harmonies and willowy melodies.

Motivational Jumpsuit, the band's fifth studio album since the band's recent reformation finds the band continuing to the mix of psychedelia, garage-rock, post-punk and pop that they've perfected over time.

It's an interesting concept for an album, but it falls a bit flat.

Varied in style, but with a unified vision, Family Portrait is a big success for Ross From Friends, a very personal and authentic piece of work.

As Shabason bends, stretches, and warps instrumentation, field recordings and interview clips alike, he's working in neo-expressionist portraiture, mining the ambiguities of the abstractions to beautiful, evocative effect.

[An] energized album, full of unexpected twists and forked, enchanting melodies.

A further expansion of the clean stream of consciousness that is her discography, Chaos Angel proves, at its worst, that Maya has found her groove and ain't nothing's going to break her autumnal stride.

Minerva (née Juur) takes a few steps closer to the blurry line that separates quirky, home-taped experiments and straight-up club cuts.

While being one of the most serious Hauschka albums yet, Bertelmann still managed to produce an album of experimental music that you could dance to, if you weren't too busy having your mind blown.

Like Funkadelic's 2014 comeback First Ya Gotta Shake the Gate, Medicaid Fraud Dogg is a sprawling listen, and a few tracks, like the tedious "On Fire" could have been trimmed.

Full of prodigious riffs, intoxicating vocals and a narrative you just can't ignore, So When You Gonna… exemplifies just what happens when talent meets passion.

Thorn frames Record's songs within her experiences as a woman and mother, allowing for an immediacy to the music, which traces her first brush with guitar music through to a simple desire to enjoy dancing on a night out. ... Tracey Thorn possesses a lyrical and melodic intuition that shines.

Despite the glaring transition on El Dorado, there's no identity crisis to be found — King is just as commanding as a crooner as he is with his guitar wailing through a cranked-up amplifier. It's unclear where King will go next, or how much of Auerbach's influence directed the sound of El Dorado, but King certainly has the versatility to make any shift worth listening to.

There's a sense of well-earned intimacy throughout Local Honey, with songs that speak plainly and from the heart about deepening relationships and the life-sustaining love that comes from them. This record is warm, instantly inviting and crackling with life.

Honus's lyrics are as fever dream as ever — "The Prettiest Song In the World" has a clergyman find Satan 69ing in a motel room — but the widened instrumental prowess across Dream Hunting gives a fresh edge to his words.

Cynical and crushing, Bright New Disease is the sound of a short-term supergroup flexing their technical skills and boundless musical knowledge. It stands as a commendable and blistering — albeit slight — diversion from either band's respective output.

While IV is extraordinary for delivering fresh music that elaborates on their past work, it feels particularly exceptional because of its forward momentum.

With thoughtful lyrics, infectious grooves and catchy riffs, Frozen Letter is sure to bring out the air guitarist (or drummer) in anyone.

Age has only made the Hives sound tighter, giving them time to master an electrifying energy that few others harness.

The eight-part suite greatly expands on Thug Entrancer's previous efforts, yet still finds the producer relying solely on analog synthesizers and drum machines

Morning/Evening is a gorgeous, daring album that draws its greatest inspiration from a much-maligned genre most often associated with John Tesh and Yanni.

Black Marble has seen a massive development with Bigger Than Life. Whether the record has proven itself to acutally be "bigger than life" is up for debate. But for Stewart's third LP, it's a solid effort and pleasant change of pace.

Shaw's songs, in particular, sound like lost X classics. This switch in sonic templates doesn't blunt Bogart's rapscallion personality, though, which ultimately is what lies at the heart of his music.

When it starts, the overt prettiness and ornate, layered arrangements are very reminiscent of Owen Pallett, but very soon it veers of in some lovely tangents, although it inevitably comes back to string-laden, experimental pop.

If you're not in a particular mood, listening to this can be a chore. If you are in the mood, though, this is another solid entry in a series full of them.

"I'll Fight for Your Life" makes up for its unremarkable melodies with a percussive synth pulse, while the charming "Head of the Horse" is a curveball ballad from a project that has always been better known for upbeat pop tunes. Beyond that, however, this album is a 50-minute slog.

It's a joy to bask in the glow of one of the world's best producers leaning into his strengths.

Either as a companion or a standalone, it's a consuming piece of music that reminds us of the Weavers' ambition to always lead and never follow.

It's a cool record that coasts on chill grooves rather than bombastic drops.

Unlike their past efforts, though, Silver/Lead is sluggish when it needs to be spry and dull when it ought to be meditative.

This is music made for dancers (and highly dextrous ones at that).

Though the album lacks a unifying aesthetic, and a couple of pieces have a slight "interlude" quality, the strongest elements highlight Lipstate's unwillingness to place definitions or limitations on her music.

On Felder, St. Werner is coming closer to melding his two personalities, allowing his Type A to influence his Type B.

Layers is a great step forward, a glowing promise on his next album, his ambitions will be fully realized.

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

Both a departure from the expected modern/postmodern/future-possible sound he is usually credited with, but also an arrival at its very beginnings.

For fans of nu metal and heavy riffs, Requiem will not disappoint, but it lacks the sadness that Korn have long tapped into to differentiate themselves from the pack.

Total Loss is a brave effort by an artist who's clearly not afraid to show vulnerability through risk-taking and soul baring.

At only 22 minutes, Cut Your Teeth is a head-spinning rip made for repeated plays. Listeners are guaranteed to rage and laugh at the same time, every time.

Despite their sonic similarities, Deacon's fourth full-length has struck an amicable balance between the hyperactive energies and extravagant compositional ideas prevalent in his earlier work.

It's neat to hear Segall's version of these songs--revitalizing them and making them his own--and he certainly offered up a colourful mix.

Through the Window might finally allow Fernow's critics to move past the "noise" label, because in his mind, he's been beyond that for years.

Fans will be deeply impressed with the improvement of their songwriting and the record's cohesion, while totally satisfied with the energy and muscle they employed to execute their vision.

Simply put, Bully knows how to make music for feeling young and utterly confused, sometimes hopeless, and ultimately, completely alive.

A sometimes-psychedelic tinge lifts Fullbrook's usual folk just off the ground. But Fullbrook's voice is still what grants the fine lines life.

Albums like Feel, Strawberry Jam and Merriweather Post Pavilion are typically considered Animal Collective's best works, yet they all lack the sustained presence of Isn't It Now? Lord only knows if it's the impact of Elevado or simply 20-odd years of musical chemistry coalescing into something new, but however it happened, Animal Collective found the now sound.

Restorations have left everything on the table with LP3, and the enormity of their vision as a rock band has largely been realized.

Notes of Blue is a solid effort overall; here's to riding the wave of change and surprise as Farrar's songwriting continues to evolve.

It's surprising how solitary The Route to the Harmonium comes off--save for a few busy, spoken word tracks that seem to stick out like a sore thumb. But The Route to the Harmonium seems to be James Yorkston's attempt to precisely stick out amongst the crowded field of folksy singer songwriters, and he wears it (on his sleeve) very well.

All in all, Half-Light makes it apparent just how much of what was captivating about Vampire Weekend came from Batmanglij, solidifying the newly independent musician as a collaborator artists from multiple genres should--and do--want to work with.

In A Dream is brand new, but has the feel of a timeless dance record, the kind of record that is pulled from the crate on the most special (and danceable) of occasions.

Making a Door Less Open feels smaller than Car Seat Headrest's best work — not only in its sonic scope but in its lyrical content, now less insular and biting. Still, Toledo's talent for stirring melodies and intelligent song writing remain firmly intact, and he makes intriguing use of this new palette.

Each song feels carefully placed, but many end abruptly, leaving something unfinished.

Though not his most cohesive work, Marci Beaucoup is undoubtedly a solid addition to Roc Marciano's impressive and rapidly expanding catalogue.

As a whole, Food is a delight and represents adventurous R&B with bite.

Lone's take on DJ-Kicks nails it right out of the gate, but starts to lose its eclectic melange as it pushes forward, swapping out the nuanced front half of the album with bland cut-outs that vary too little.

It's a beautifully understated album with subtleties that reveal themselves on repeat listens. Hyperspace isn't quite what fans would expect from a team-up between Beck and the guy who wrote "Happy," and it's better for it.

Richard aims for an experimental vibe that has already been coopted by the mainstream pop and EDM, but Redemption nonetheless by revelling in triumphant themes of love, life and sexual identity--and does so in a way that's delightfully thoughtful and honest

With lyrics that are minimal and often delivered measured and mantra-like, LP.8 is hypnotic, introspectively abstract, and while some may find it too left-field, or lacking her more club-leaning tracks, it's not intended to follow in those footsteps. LP.8 creatively explores Owens' inner life while being inextricably tied to the current age.

This project is the high energy expected by a mare balancing sugar and spice just in time for the hotties — Megan's fan club — to warm up to for the summer.

It feels like a coherent album as opposed to a loose collection of songs. There are stumbles, but given the band's history, they feel minor.

Ritual in Repeat is an elegantly constructed and crafted piece of pop music art borne from rigorous, exacting songwriting.

Everything Not Saved Will Be Lost — Part 2 is at once a satisfying and boundary-pushing listen from a band that sound hungry over a decade into their career.

In order to continue to excel, he needs to move past the solipsistic and look outward. He raps better when he does.

Overall, Holtkamp's constant push into uncharted territory on Motion – Connected Works is highly respectable and a new step forward for him, but its length and fatiguing, aggressive timbre hold it back from being his most pleasurable release to date.