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.