Is it incoherent? Absolutely, but that's all part of the fun. Although it's tempting to wish for an entire album in the same style — the krautrock tunes are especially strong — that wouldn't be nearly as fun as this strange tour through VanGaalen's brain.

When Olsen sings, the record takes on an ephemeral sad-in-a-good way vibe, Merritt's and Gustafson's voices also blend with McEntire's terrifically, making Lionheart enjoyable on the level of a record of country duets as well.

Crossover Ministry is a well-made crossover thrash album that's sure to be a hit with fans of the genre, and could be the selling point for people just getting into it.

Aside from the compelling lyricism, Everything's For Sale also stands out because of its immersive melodies.

Penultimate track "Your World" is perhaps the most forward-thinking item here; with the unusual mash of R&B and dream pop, it offers something novel, where some other parts of the album do have a tendency to be a touch heavy on paying homage to styles past. But the sounds and homages on offer are diverse enough that this is a minor quibble with what should otherwise be held up as a model debut album.

Simply put, there are few artists with the precision and poetic fortitude of Carla Bozulich, and on Boy, she commands attention like no one else.

How the West Was Won is a very welcome return.

The album's blend of country, pop and soul is both classic and classy.

Bless This Mess feels like a rebirth; a boundless, alien take on Remy's explosive art-pop, its conceptual wildness and sonic friskiness allowing her to flex her vision and sense of humour in brand new ways.

Rhythm & Blues is a late career milestone that backs up all of the accolades Guy has ever received.

Testament just don't make missteps (the album could be a couple songs shorter, but that's my biggest complaint), continuing to craft thrash that's mature, heavy and aggressive in all the best ways.

The lyrics are murky--there are none of the plainspoken tales of domesticity that Lennox used to specialize in--but the burbling soundscapes and soaring pop melodies are gorgeous.

Fearless (Taylor's Version) introduces her younger audience to an iconic set of songs and feels like pure nostalgia for her older audience. This re-release signifies the beginning of Swift doing things her way, taking full control of her music and sharing it with fans who are eager to listen.

Occasionally, Willner's penchant for repetition is taken a little far here, but in most cases, it serves to heighten the drama of changes when they do come.

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

It sounds more rigorously composed, but still with the swing that comes from live performers on un-quantized instruments, filtering the rhythms through their singular perspectives.

Despite electric amplifiers and a plethora of pedals, BIG|BRAVE have created an album that sounds like it's existed since the dawn of time. Tears will be shed and embraces are encouraged.

She may be the daughter of punk royalty, but with Twice, Hollie Cook cements her status as a principal figure in the UK reggae scene.

Set against the billowing fog, blinding strobes and distant sirens of 3 a.m., Scuba's fabric 90 is a versatile mix that draws heavily on the experiences now held forever captive behind the closed doors of the legendary nightclub.

While Suuns' albums tend to reluctantly hold your hand while guiding you through their universe, Felt reaches out and pulls you in. It may even make you dance.

Seasoned hardcore listeners may not love this avant-garde approach, yearning instead for something in a similar vein of the breakdown-heavy Good to Feel, but CANDY still deliver a solid handful of unrelenting, uptempo jolts.

Fans of the group may be surprised by the subdued nature of singer Liam Corcoran's usually prominent acoustic strumming and bubble-gum pop harmonies, but Foolish Blood's low-end textures and diverse layers guarantee that the Maritime icons will remain relevant for years to come.

Love Letters isn't the next move many expected from Metronomy following the astute pop of English Riviera, but it's a logical move and likely the best one possible for a band as imaginative, unconventional and talented as this one.

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.

High On Fire have been on a hot streak with their records in recent years, but their latest is far and above the strongest release they've put out to date. Their blend of thrash, tribal-sounding sludge and doom metal has fully flourished, but to see the band still stepping up their game this far into their career is a testament to the lasting legacy they've left in their wake.

Stunt Rhythms is by far an auditory treat.

While it's not quite a classic like his seminal late '80s to early '90s run, Everythang's Corrupt is a return to form, especially after Cube's rudimentary 2000s releases like Laugh Now, Cry Later and I Am the West. It's heartening to hear an icon with nothing left to prove rap with the hunger of a youngster so far into his career.

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.