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.

In its entirety, the collaborative effort is compelling; Plastic Bouquet is the furthest thing from a plastic collection.

Tyler sounds like he's barely breaking a sweat. It's the sound of confidence in one's abilities as an artist, one who embraces their restlessness and creativity while sounding like he's barely breaking a sweat.

The Planet works more than well enough as its own insular world, and is hopefully but a taste of more to come.

The end result is proof that traditional instruments can work incredibly well with electronics, although it might take two legends to pull it off.

While this record is steeped in mature rhythms, the hype tendencies that make the music ghetto are never sacrificed.

Clocking in at only 35 minutes — though it feels longer, richer — Up on Gravity Hill is a quick glimpse into a more earnest METZ. This doesn't sound like a band experimenting with something new, but rather a group of musicians secure enough in their craft to humbly evolve with increasingly uncertain times.

If 2023's Blame My Ex was the Beaches testing out new dimensions of their sound, they've honed it on No Hard Feelings, cementing themselves as a band that's earned a place in the public consciousness internationally, possibly for years to come.

This flow is a result of the group's ability to balance technical shredding and melodic atmospheric pieces; it is that sonic harmony that's responsible for the positive vibes resonating from The Migration.

The result is a catchy, cathartic experience that feels fun, even while wading through themes of loss, shame and eventually acceptance.

While the songs on If I Am Only My Thoughts feel gradual and soft, the album nevertheless contains a form of passionate songwriting, catering to feelings of hopefulness and longing.

The emotions that are being expressed feel lived-in and deeply personal while remaining open to listener interpretations.

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.

This is essential listening for fans of Owen Pallett and Ólafur Arnalds.

Overall, the songs on record two are smarter, punchier and catchier than the ones the first time around. How Do You Love? is summer pop punk at its finest, music that can no doubt soundtrack the rest of your summer.

With crisp, concise songwriting, slick production and subverted historical rock references, Oceania is more the addition of a new tower to the alternative palace Corgan helped build than the foundations for something strange and new.

This is a return to form for Franz Ferdinand; they've indeed retrieved the right thoughts and words to create a dynamic new set of pop hits in-the-making.

All in all, the disses, weird comments, glitchyness, folky bits and ravey big bass — among many other sundry bits and pieces — come together to create something that will make many people dance. This doesn't sound like an album as much as a terrifically curated DJ set—and that's more than okay.

Even when the pulse ends up becoming more of a question mark than an assertive statement, the music still speaks as directly to the body as to the mind

positions has hints of classical and R&B — staples of Grande's previous work. Songs like the title track and "love language" weave in orchestral strings, violins and catchy backbeats to elevate the listening experience, effortlessly meshes these contrasting genres to keep her pop sound distinctive.

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.

Tracks like the funky "Can't Fight the Feeling," "Love Jones" and "I Feel a Change" aren't '60s soul throwbacks so much as they are genuine articles, with the now-trademark Daptone sound feeling fresh and vintage at once.

It is intimate and alienating; friendly and mysterious; and, most importantly, a whole lot of eerie fun for any listener interested in experimental music.

The textural depth of ANIMA grips, unlike past solo outings, and is ultimately even more rewarding when played on headphones.

COWBOY CARTER deserves your full attention; its sprawl unsuited for TikTok-sized consumption habits. Clocking in at just under 80 minutes, it takes time to properly digest, a rich 27-course meal that dares one to really let it sit on the tongue.

Black Hours could easily have been Walkmen-lite, but Leithauser's ambition to seize the opportunity, and eschew the obvious, results in an album his voice--and a number of his fans-- has no doubt longed for.

Apple's most ingenious collection of songs to date.

Ital Tek hasn't completely abandoned his beat-heavy sound, Bodied stands as a brave and inventive direction--something that sounds slightly familiar but even more alien.