Meshuggah haven't returned to impress anyone but themselves. This is the music they like playing. It just happens to sound unlike anything else in metal. After 30-plus years in the game, Meshuggah have neither quelled their thirst for tectonic frenzy nor dried their well of dexterous musicality.

It's rare for a posthumous release to not only live up up to the artist's previous work, but properly capture their aura and spirit in the way that Forever manages to.

If there's anything to be said about THE UNRAVELING, it's that PUP have remained true to themselves.

Exploring so many sub-genres of hardcore while simultaneously telling many different stories, Diaspora Problems vaults Soul Glo into the conversation as one of the most important heavy bands in 2022.

Despite many of the songs not building on the promise of the opening track, there is a sense of playfulness to the proceedings. You can practically hear Grohl grinning throughout as he indulges in some thrash metal cosplay. Unfortunately, it sounds like Dream Widow was more fun to record than it is to listen to.

On Electricity, Ibibio Sound Machine manage to come across as enormously focused and imaginative while staying true to their wildly diverse, free-flowing modus operandi.

No doubt existing fans will love this about the album, but newcomers might be turned off by the uniform approach throughout. Still, Songs of the Recollection is a joy to listen to, start to finish.

There are a lot of simply beautiful songs here, but not unlike previous Camp Cope efforts, Running with the Hurricane is held back by sameness. ... Still, it's rewarding to see Camp Cope find the kind of personal and artistic growth that so many long for.

While not everything works out as intended, the seeds have been sown for growth and refinement. The album does a great job of acknowledging the band's past, and where one can expect them to move forward.

Warm Chris is neither refined nor contained: it wanders and wonders, affirming the sheer joy of curiosity.

Spring certainly isn't the worst Weezer album (don't worry, Pacific Daydream, that title still belongs to you!), but it's frustrating to hear them sabotaging their own songs in a futile attempt to pin down the sound of a season. So far, SZNZ feels less like a lofty concept and more like silly gimmick.

It's the kind of brash, whiplash-inducing pop album that only she seems capable of making at the moment. It's a bit messy, but most crashes are.

Smart, forceful writing continues throughout as Benny's deliberate delivery slices through the horns of "Throwy's Revenge" and the frenetic synths of "Guerrero." Usual suspects Boldy James, Conway the Machine, 38 Spesh and Westside Gunn drop by, adding welcome vocal texture to Benny's predictably clear and metronome-like cadence.

Impera is a solid album and an obvious next step in Ghost's career. It's bittersweet to see the campy Satanic days firmly behind the band, but any old-school fan should still be proud to see what the band has achieved, and it's clear that Impera is the album Ghost needed to take their career to the next level.

Oxy Music's greatest strength is that it makes the plight of an addict easy to understand and sympathize with, and may even help addicts who tune in feel less alone.

Classic Objects ought to be weighed down by its thematic density, by its specificity and insistence on revealing its own ropes and pulleys. It's to Hval's immense credit that it feels airborne instead, the work of an artist operating at the height of her craft.

The current release of the album otherwise known as Donda 2 — is a noticeably unfinished album. ... Not that the album is unfinished to the point it's entirely unsatisfying; there are clear winners here.

Lacking the depth of his more memorable efforts, Digital Roses Don't Die sounds more like an album Big K.R.I.T. made for himself rather than something he expected his fans to collectively laud.

For all its fear and itching paranoia, PAINLESS is a buzzing thrill.

Just because How Is It That I Should Look at the Stars is unadorned doesn't mean it feels unfinished. By design, these songs are understated but Lindeman's voice is so strong and incredibly beautiful that what she gives you is fulsome. Paired with the album's multitudinous lyrical details, Lindeman delicately succeeds in fitting the world into her songs.

Ghetto Gods was created through a plague and a racial reckoning. So, it's understandable that the fun factor and the tempo have been dialled down. Heavy is the pen. Still, when those heroic ghosts and EarthGang pop in synchronicity, the music is downright out of this world.

Credit Conway for cranking out a smartly written collection of street rap and not stretching too far out of his zone just because he's now on Eminem's label.

They've burst out of the confines of "rock" to make something that's legitimately transcendent. angel in realtime is a profoundly beautiful, meaningful album from a band that has decided that every record might as well be a new magnum opus.

There are moments on Superchunk's inspired and inspiring Wild Loneliness where ideas of isolation and connection are pondered and addressed but any despondency is met with righteous hope and a roaring conviction that all is not lost, and goddamn do we need records like these right now.

Every track on Texas Moon is a moment of catharsis, delivered with as much swagger as spirituality.

A Beach House record is best experienced like a shooting star, thrilling for its relative scarcity and singular propulsion. Once Twice Melody feels more like a sunset than a shot of light from the universe's depths — magnificent and enormous, yes, but also familiar.

On the whole, PREY//IV expresses a dance-when-you're-sad energy that Glass and Kath never quite achieved with Crystal Castles, and that Kath and Glass stand-in Edith Frances have yet to capture since the enigmatic former frontwoman's departure.

By pairing their well-honed blues rock temerity with genuine emotional weight, Spoon continue to wring new ideas out of classic sounds without veering into gimmick, staying consistent without getting stale. By slowly introducing the idea that it's cool to care, Spoon continue to expand their comfort zone.

Voivod elect to flex and soar instead, delivering an impressively intricate and delightful effort with their fifteenth studio work, Synchro Anarchy.

Tagaq's talent as a throat singer and capacity to weave meaning through chaos is as breathtaking as ever. That said, Tongues demonstrates that her musical toolkit is only growing with the refinement of her message.

While Dope Don't Sell Itself does not inspire immediate playback like Chainz's last outing, So Help Me God!, and doesn't contain the breakout hits of 2017's acclaimed Pretty Girls Like Trap Music, it is a testament to the rapper's longevity and his vital role in ATL's shifting scene as a gravitational figure for all to aspire to become.

Heterosexuality captivates and transports the listener, making an ethereal landscape out of dissonance and nihilism. It never repeats itself, it does not stutter, and it absolutely never apologizes.

That Dragon New Warm Mountain I Believe in You's vast ecosystem can support this multitude of sounds and voices is astonishing. Even more so is the way its greens seem to become greener — its skies more full of stars, its waters clearer — the more time you spend with it. It's a universe all its own, clarified a bit more with every listen.

While the stories told within Few Good Things are definitely the focal point of the record, the musicianship that accompanies it matches and at times even exceeds it.

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.

Like many sophomore albums, Ants from Up There serves both as a clearing house for leftover ideas from the debut and a tentative next step in Black Country's evolution. Serving both purposes results in an album that doesn't necessarily have the same electrical charge as what came before and would benefit from a little trimming here and there. That said, the band is still inarguably one of the most exciting prospects in new music at the moment, and here, the highs are head and shoulders above the majority of their contemporaries.

With its melodic focus on the bass and heady lyrical vision expressed through quirky pop-tinged aesthetics, the album is full of moments that feel effortless while being thoughtful.

Returning to their signature twinkling arpeggiated synths on the bulk of the record's nine chunky tracks, the band hearken back to a pre-Merriweather AnCo era, serving up some of the most accessible and least jarring tunes from the full ensemble since 2009 (save for 2020's Bridge to Quiet EP).

She stated that the album's title refers to the laurel bushes that grow in the Southern Appalachians in the US, where they're just as beautiful as they are isolated. She shows us these qualities of beauty and isolation are often two sides of the same coin, and can be married to uncover the intricate corners of a person's full truth.

DS4EVER is certainly a good mainstream rap record, and fans of Gunna and the community of high-profile Atlanta artists he's aligned with will find plenty to enjoy across the album's 19 tracks. Still, the question of where he goes from here is left for listeners to wonder.

Lucidity, seldom felt as strongly in the kaleidoscopic cacophony of 2018's Some Rap Songs and on the shadowy, spectral 2019 EP Feet of Clay, is at the core of SICK!

"pamplemousse" and "which way" serve as the purest evidence of the freedom achieved on this mixtape. These experimental sketches are delightful in their rejection of seriousness.

He remains unchallenged when it comes to his ability to create organic sound that is at once full-bodied, warm, and filled with textures from around the world. Bonobo's growth, too, across the past two decades has seen a natural and consistent progression; each record building beautifully on the last. Fragments is no exception.

Magic closes with the majestic "Dedicated," as a sumptuous beat switch allows Nas to effortlessly change flows. This caps off an immaculate project that finds Nas regaining top form and will surely find its way close to the top of his illustrious discography, which is aging like fine wine.

It's a brilliant new benchmark in his already stellar discography, showcasing just how much of an artistic powerhouse he has become and a clear shift from the darkness that his music, even at its poppiest, once embodied.

It's a gorgeous collection of songs, showcasing Spear's preternatural songwriting ability.

This album won't change anyone's opinion of Rick Ross, but fans will get everything they love about his music: some standout tracks, an abundance of charismatic luxury raps and a slew of incredible, lavish instrumentals for you to cruise around to.

While even Young's most autobiographical ("Old Man") and tender ("Harvest Moon") songs deliver a level of poetry and mystery to his plainly spoken lyrics, much of his folk material here is paired with often cheesy and typical phrasing. ... That said, at 76 years of age, Young is still making more shrewd, relevant, and valiant albums than any of his peers not named Bob Dylan.

We then enter the eye of the storm. kick iiii swaps cacophony for the serene comfort of atmospheric subtlety. Songs like "Esuna" grace us with raw orchestral elements which are seldom found in Arca's work.

KicK iii practically dares listeners to come closer. The opener "Bruja" makes it clear from the get-go: Arca will not cater to those easily spooked out of her turbulent cyborgian utopia.

KICK ii manages symmetry and catchiness despite its descents into the bizarre. ... But for all her experimentation and chaotic tangents, it is clear in KICK ii that she is acutely aware of the balance necessary to build a bop.

By KiCK iiiii, we are in truly subdued territory. An avant-classical journey into quieter realms, it privileges instrumental detail and tender lyricism over rhythmic intensity.

On I Thought of You, Julie Doiron defends her crown as indie rock royalty, giving listeners yet another full-band classic that equals her material with the Wooden Stars and even Eric's Trip.

Adele has deepened the niches that made her preceding songs so powerful. But instead of playing it safe with only those established tricks, her bold exploration of new terrain on "Cry Your Heart Out" and "Oh My God" help Adele not only become the world's top hitmaker, but also a pop music visionary.

At a tight nine tracks, any fat that needs trimming from Motorheart is easily digested. This one runs smooth.

Not one second on the album goes to waste. It's an efficient half-hour endeavour where every song, (save for the rousing intro), sounds like the grand finale of an epic live production.

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

It's a more focused effort than scattered 2014 solo debut Everyday Robots and more delicate than the bulk of his back catalogue, but Albarn's still drawing outside the lines.

Music for Psychedelic Therapy is a magical union of nature and creativity, a space where the mind can open, and do so with transportive beauty.

Things Take Time, Take Time is an exceedingly nice-sounding record — but with almost no quotable zingers, it's hard not to shake the sense that something is missing, is missing.

20 years later, what stands out about the sound of Kid A and Amnesiac isn't how influential they are, but how they resemble little else. ... The recent single "If You Say the Word" is a clear highlight, its acoustic arpeggios and skulking rhythms fitting in nicely with the more straightforward moments of Amnesiac.

If Words Were Flowers is Harding's most experimental record to date, touching on a wide range of genres. This radiant record serves as a reminder to look forward and the importance of love during chaotic times.

Mastodon have crafted the fullest realization of their artistry, revelling in primal, visionary euphoria.

Even if the tracklist isn't quite 10-for-10 in terms of quality, much of the appeal of I Don't Live Here Anymore lies in the little sonic details rather than the songs themselves.

Radical finds the group doubling down and levelling-up their expansive, swaggering metalcore in every way possible.

Though still world-weary as ever, Del Rey is, on Blue Banisters, for the first time diaristic and ad hoc. This album is a stunner.

Given time to breathe, to live, to coast, with Shade, Harris has found a new stream to navigate, but with distance, it's clear Grouper doesn't have to commit to one world or another to enjoy their comforts. Maybe we don't need just one Grouper either.

Rubinos's major folly on Una Rosa seems to be her desire to push her craft forward and to challenge herself. And while that may be the main ingredient for truly groundbreaking music, she forgot to draw up a blueprint beforehand.

Shauf delivers a collection of tracks here that showcase exactly what made Skyline so incredible, and in turn, what makes him such a captivating artist.

Sympathy for Life isn't a failure as much as it's just a step down from the indie rock podium. There's still a lot to admire for longtime Parquet Courts fans here, while the rest just requires some patience and a bit of unconditional love.

Wolf and producer Jared Solomon (a.k.a. Solomonophonic) pack every song with laugh-out-loud lyrics and confetti blasts of squelchy synth-funk, but for all the modern bedroom pop accoutrements, Juno's greatest strengths are the raw materials of melody and lyrics.

The record has big, cosmic questions about time and space and possibility swirling 'round its bejewelled head, but it's at its best when putting these concepts under a microscope.

On Illusory Walls, The World is a Beautiful Place give a lot and only ask for some of your time, patience and attention in return. At every interval, they make it worth your while.

It does occasionally err too heavily towards swaying ballad tropes, but importantly Blake never hides his feelings through allegory or metaphor, nor does he mangle his vocal delivery with electronic trickery.

While scanning the state of the world and all its grievous, haunting wonders, Garden of Burning Apparitions continues Full of Hell's exploration of scorched earth, and by sticking to what they do best, they've left another bold stamp on extreme metal.

They stick with what they know, and they have it down to a flawless science.

On Talk Memory, BADBADNOTGOOD find likeminded collaborators ready to challenge and compliment them at every turn, resulting in a new evolution for the trio.

As her own boss, she doesn't need to request "let me do one more" to anyone but herself — and across these 12 tracks, she quite literally owns every aspect of her sound.

True Love is a loving snapshot of what Hovvdy holds dear in the present and their excitement for the future is infectious. Instead of reflecting on the past and easiness of simpler times, they are finding pockets of these hyper-elated feelings in the here and now.

This is Colourgrade's magic ⎯ it captures the quiet humdrum of life at its most unreal, blearing domestic love and childrearing and sleep and exhaustion into something suddenly, amazingly unfamiliar.

Leaving None but Small Birds is a departure for both bands that results in a mostly positive and rewarding listening experience. This complete change in sonic construction not only introduces these bands to wider audiences, but also gives a glimpse of their greater musical potential moving forward.

Throughout Dawn, she exhibits wit and exemplary control and the blurred genre lines on the album are her playground.

FLUX situates itself in and around the broad category of rock and its derivatives, but what it really does is encapsulate Poppy's desire to evolve through genres. ... With this album, Poppy very clearly says that her new niche is to not have a niche.

Haliechuk and co. have developed a layered universe and score that creates a unique and immersive experience for those wise enough to carve out ninety minutes of their time to read along with the story as they listen. It's an album that requires listeners to invest their time and attention, but surely those listeners will be happy they did so.

A Beginner's Mind will not wow you with grand theatrics but it will have you on the edge of your seat nevertheless.

Levy's writing is both insular — her lyrics are dense and singular, her references specific and sometimes unknowable — and insulating, sketching her surroundings so vividly, so minutely, that a city can feel as familiar and often-unpredictable as the inside of your own head.

It is an abstract, melancholic and affecting body of work that is not only another incredible addition to a stellar discography, but a magnificent and moving tribute to a friend gone too soon.

He proves that he is a fully-fledged, multifaceted person who can do it all, and has all the makings of a modern yet ever-evolving pop star. He just remembers to have a fun, honest time while doing it.

With Springtime in New York, Dylan and his archive custodians take on his most written-off period and re-write it, capturing its lost glory.

instead of songs about past lovers and immaturity, Motorists are using philosophical ideas as fuel for their jangly indie rock.

Balvin proves to be taking risks the whole way through. With JOSE, J Balvin offers stiff competition to Kanye and Drake's recent 20-plus song efforts with a far more consistent effort.

With Black Encyclopedia of the Air, Moor Mother uses her genre-agnostic style to tackle to world's most popular genre and make it undoubtedly her own.

This is an assured return.

Low's latest finds Sparkhawk and Parker at a thrillingly creative and intrepid peak, building off their experimental blueprint laid out with their 2015 LP Ones and Sixes and fully realized on Double Negative. Although HEY WHAT falls squarely in between the two, it's safe to say that no one is making music that sounds remotely similar to what Low is giving us.

The subdued star-crossed is unlikely to garner the same commercial success as Golden Hour. It isn't carried by standout singles or big beats, but the album isn't seeking that kind of external validation. It stands alone in its vulnerability.

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.

CLB is a serviceable enough Drake album, but he has a number of prior projects that showcase his dynamic rap abilities and frenemy quarrels at a much higher calibre.

What Only Up suggests at its core is an opportunity to unite Toronto's hitherto fragmented music scene; rave music, hip-hop and bands can coexist, rebuild the scene anew and have a hell of a good time doing it.