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.