Simply put, Bully knows how to make music for feeling young and utterly confused, sometimes hopeless, and ultimately, completely alive.

While not groundbreaking, it's a revitalizing rock record that is bound to rekindle the excitement of taking a chance on a (relatively) new band.

As short a release as it is, the tight six-track EP packs a punch. This is essential material for both country listeners and fans of Orville Peck, who, through his dedication to authenticity in aesthetics, joins the likes of Shania, Reba, Dolly, Johnny, Kenny, Merle, Hank and countless others among the genre's greats.

It's a logical continuation of 2007's slick Cassadaga (less so 2011's rock-inclined The People's Key) — but given the renaissance Oberst has enjoyed with his side-projects in recent years, it doesn't quite live up to Bright Eyes' lofty name.

A committed listen to O'Rourke's latest iteration reveals the piece to be understatedly eloquent, its movements and progressions restrained yet effective.

Despite the underwhelming musicality of Total Freedom, many of these songs still pack some undeniable emotional force, especially the more joyful tracks like "Who Rescued Who" — a charming ode from Edwards to her dog. In her songcraft, Edwards remains dependable and enjoyable.

On Bad Vacation, the emotions may be heavy, but that won't stop listeners from dancing along to them and air-guitaring in their bedrooms.

Given that the chillwave craze only lasted a year or two, this is another solid outing from an artist who has turned a flash-in-the-pan trend into a deep discography.

While Eight Gates seems mostly germinal and is not the ideal introduction to Molina's work, fans will likely forgive the album's inchoateness and simply appreciate another dollop of the artist's distinct melancholia — nine tunes that underscore his attunement to suffering, inconsequence, and the brutality of the corporeal world.

The result is that Pyramid is an imperfect and uneven album that satisfies two different audiences, as the front half is packed with wandering jam band noodling while the second half tightens into a slightly more focused and rhythmic set. It's just a shame that Jaga Jazzist wasn't able to give the listener a more cohesive and unified version of what they were trying to achieve with Pyramid.

It's a release that somehow feels like it has less to prove from a duo not quite overdue for their follow-up to a huge success.

Skullcrusher's debut points to Helen Ballentine's undeniable skills, particularly as a melodist. A bit more distancing from popular templates, however, may have served to further distinguish her work from that of her abovementioned contemporaries.

What looks like an odd couple cover album at first glance turns out to be one of the best matched and executed collaborations of which either group have been a part.

Indistinct Conversations doesn't so much pare back as it does reveal depths: Powell's putting their inner life on display, and giving it the full range of space and volume it deserves.

No Horizon pairs ecstasy with pensiveness, using experimentation, static, tension and texture to push Wye Oak's skills ever forward.

B7 is meticulous in its references to pop and R&B history, of which Brandy's own career is such an important facet.

The propulsive spark that lit their debut lingers, keeping the record from drifting off into malaise.

While Brain Candy does lose creative steam towards the back end, there's still plenty here on offer for those looking for a reprieve from the oppressive reality of day-to-day life in 2020.

With progression and reinvention a staple of Romare's work, we can only wait in anticipation for his next release

The music slides along with a relationship to various genres that is curious and sincere while not making a firm commitment to any one, and with a depth and complexity that underlies the gentle waves on the surface.

There is very little melody on The Upward Spiral; the sounds are more like drilling, sawing or machines beeping than traditional instrumentation.

Swift is still unquestionably a pop artist, and folklore is unquestionably a pop album, albeit a quiet one — and as is the case with most recent pop albums, it's about four songs too long. It's hard not to wish that Swift would apply her written concision to her tracklisting, to do away with the stream-grabbing bloat and deliver something more thoughtfully tailored. Still, it's hard to complain about too much of a good thing.

It is emotional, redemptive and leaves an indelible mark on the listener. Andrews provides a raw, honest and unflinching look in the mirror of a failed relationship and finds herself; it's a story as old as time, but somehow told more achingly beautiful here.

Lanza zooms between feelings and situations so nimbly that every time you revisit All the Time and the accompanying artwork, it's just as easy to imagine a freewheeling Lanza doing gleeful donuts in that parking lot as it is to envision her having a breakdown behind the wheel.

Lianne La Havas is boldly authentic and infused with passion.

On paper, the inclusion of saxophones, bass clarinet, flute and cello should make Ultimate Success Today expansive. In practice, the auxiliary musicians often add the sonic equivalent of extra seasoning to an already good dish; it's often unclear whether Protomartyr needs the addition.

Free I.H: This Is Not The One You've Been Waiting For is Illuminati Hotties defying the record industry while balancing purposefulness and playfulness at the same time.