By toeing the party line--one that many critics and fans have completely rejected--Made in California paints a false picture of one of rock's most enduring and puzzling acts.

A deceptively lush record full of moments of striking beauty.

Hackney Diamonds may not go down as an iconic Stones LP, but this late in the game it's basically a triumph by nearly every measure.

Nothing here quite scratches the itch of both emotional catharsis and rapturous splendour the way Arcade Fire's best songs do, but after a few initial attempts at capturing our collective panic and frustration, they have finally managed to pull it off by seeing themselves as part of the problem, by putting themselves in the line of fire, and by sharing the coping strategies and counterarguments that get them through and putting them into song.

Ordinary Man isn't necessarily the best Ozzy album ever made, but if this does mark the end of his recording career, he's ended with a bang instead of a thud. The record is easily the most captivating music he's made on a solo record since the early '90s, and despite small flaws with select songs, he's created another record worthy of people's attention.

This might not be the golden, triumphant comeback Aguilera had hoped for, but it's pretty close and, let's face it, it's better than most Top 40 music right now.

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.

The best moments are when all of these elements are working together to make songs both catchy and corrosive, like the propulsive "We've Come So Far" (one of the two tunes recorded in Norway with Serena-Maneesh bandleader Emil Nikolaisen) and the unhinged bass feature, "Straight."

Crusher shows that Grave Babies know how to get down with some morbid music, all in the name of good, clean fun.

WILLOW's pointed vision and eagerness to push the envelope allowed her and Greatti to construct songs that consistently take unexpected turns yet culminate in her most cohesive project to date.

Seven Steps Behind is an album that, for the most part, has found its footing with a few missteps along the way.

With simple rhyme schemes, by no means is Chance an incredible rapper, but he is true to his artistry, the person he's growing into and is becoming a force in the new age rap realm.

Lyrically strong, thought provoking and groovy as hell, What You Gonna Do When the Grid Goes Down? shows to the world that Public Enemy still has plenty of gas left in the tank.

While Berman's sentiments are sweet, there's nothing revolutionary here. That said, revolution isn't a prerequisite for good music, so if insular, sensitive indie rock is your thing, you'll probably love The Echo of Pleasure.

Meloy has his art down to a science, and the Decemberists take their fans through as winding and rewarding a trip as ever, complete with an abundance of twists and turns that suggest that the journey, long as it may be, is the true reward.

PHOENIXXX is a difficult listen, abrasive and angry, but it's expressive and worthwhile if you can manage to make it through.

Here is empowering at times--it's strong in craft and intent, and will likely perform well--but the hope that Keys will deliver that iconic, instant classic album continues on.

Regardless of your level of faith or denomination, the 19-track album is accessible enough from a craft and sanctified standpoint. Whether it's for interpolations of Kanye tracks like "Fade," with "Follow Me – Faith" — itself a gospelized riff off the classic house track by Aly-Us — or for a new take on "Ultralight Beam," off 2016's The Life of Pablo, there's a lot here to vibe off of.

L.W. may not boast many surprises, but it cements its makers as masters of their realm.

It's inevitable that lately i feel EVERYTHING will be relentlessly compared to its influences and predecessors, but Willow manages to pay homage to the subculture while putting her own spin on it.

Forever may be too long to wait for Keenan's other work, but it would be wrong to say Money Shot is any less rewarding.

Folks hoping for a repeat of Rabit's 2015 pseudo-grime offering Communion will certainly be disappointed here; open-minded listeners with a penchant for the darker side of experimental dance music will find their thirst for evil slaked.

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.

For such a specific formula, the law of diminishing returns likely looms, if it hasn't arrived already, but for now, The Glow is just enough of a good thing.

Head in the Dirt definitely bears all the hallmarks of an Auerbach production--fuzz, funk and stadium-ready choruses--and often it's difficult to tell whether El Khatib is merely serving as Auerbach's stand-in. But the catchiness of his songwriting ultimately wins the day.

It all sounds great, but the songs don't sink in, don't push past the surface.

Continue as a Guest picks up on the beats-and-synths sound that drove 2017's snappy Whiteout Conditions. Yet where that album saw Newman and Co. dabbling with syncopation, here the band is moving as one unit, deepening the music's groove.

It's a pleasant surprise to hear that he's capable of so much more.