On All or Nothing, Shopping talk big and play loud, showing their sharp sense of what makes people move. It's an album that just can't wait to be released, to spread its way through a gathered crowd — and, at last, to watch the motion begin.

The most notable thing about the record is how excited everyone sounds. It crackles with energy, buoyed by the feeling that the trio are finally unshackled by their past. It's punchy, and the hooks generally last long past the record's short runtime.

A welcome late-career gem.

Scis demonstrates that, 27 years into his recording career, Markus Popp is still managing to come off forward-thinking and forward-sounding.

His latest is an unhurried flow of ambient piano pieces that, despite the implications of the title, are only momentarily dark and far from risqué, perhaps at times more suited for those soft intimate moments made for two, or most certainly personal reflections made for one.

Across U kin B the Sun, Ford's first record in six years, she offers affirmations that are deeply touching and inspiring.

What makes We're New Again so fascinating lies in the fact that Makaya McCraven benevolently and sonically recognizes Gil Scott-Heron's grief, joy, and legacy, making sure these vital expressions remain the album's true focus.

Dune Rats might be known for trivial punk rock songs about millennial angst and partying, but their new album proves the band can be much more.

While Funeral isn't necessarily a flop, the album would have ranked higher in Lil Wayne's discography had he cut the tracklist in half and opted for quality over quantity. Overall, Funeral lacks replay value compared to the multiple "best of the year" albums that Wayne has proven capable of creating.

Although the quality of the album tends to range drastically, it does offer a few glimpses as to why his music is so strongly followed. In the end, though, Dwell winds up being somewhat lukewarm.

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.

Likewise checks all the boxes of a "good" album, but it's also a bit boring. It's too much a showcase of Quinlan's lyrical acumen, which is incisive, but the record doesn't strike a visceral chord.

For fans that saw the culmination of his artistic prowess in Gliss Riffer, Mystic Familiar will fulfill many of the same needs, but with even greater balance in execution.

ACCA is showy, drama-dripped and ultimately rewarding. It demands a lot from the listener, but more music these days probably should.

It is a transformative synthpop journey exploring how our worst moments shape us as individuals for when we are at our best.

Despite the glaring transition on El Dorado, there's no identity crisis to be found — King is just as commanding as a crooner as he is with his guitar wailing through a cranked-up amplifier. It's unclear where King will go next, or how much of Auerbach's influence directed the sound of El Dorado, but King certainly has the versatility to make any shift worth listening to.

While I Was Born Swimming never goes into the unfamiliar, Williams' gushing charm is more than comforting enough to feel what it's like to exist somewhere in between destinations.

While Swirlings creates an easy listening ambience with textures that assist in ethereal out-of-body mediations, there is little in the way of innovation, though the final track provides a contrasting tone from the relaxation pieces.

What brings to life the often spacious, simple melodies is Chadwick's deft storytelling. Most evocative, perhaps, are the throwaway details she uses to colour her songs with lived experience.

This odd, emotionally varied collection of songs embraces the fluidity of sexuality and gender, yet acknowledges that finding a stable, strong connection with another person remains an anxiety-inducing task.

At just nine tracks and 36 minutes, Silver Tongue runs the gamut on aural and ethereal moods, leaving Torres with one her most emotionally fulsome and satisfying records.

Whether you can consider this old-school, new-school, or somewhere in between scarcely matters. What we have here is yet another brain-melting album from an artist who refuses to stand still.

Although The Unraveling is a strong album thematically, songwriters Patterson Hood and Mike Cooley do little to push these songs forward sonically, as tracks like the Replacements-lite "Heroin Again" and the nightclub crooner "Grievance Merchants" can attest. Nevertheless, on The Unraveling, Drive-By Truckers deliver another socially charged to-the-bone manifesto that sticks closely to their newfound credo: If the country's still broke, keep trying to fix it.

It makes for immersive listening, even when tracks fail to sustain themselves. ... Despite its digressions, Have We Met is rich and varied enough to offer more than just throwback thrills.

At the expense of sounding more classically "Wolf Parade," the album suffices as a fun listen with some neat nostalgic nods, lopsidedness and all.

If you're a big fan of the band, or if you have been feeling nostalgic for the Reverend, check it out.

Shauf's ability to imbue his characters with plenty of nuance, quirk, charm and flaw in brisk scenes is impressive enough, but his need to craft full worlds around them put him head and shoulders above his peers.

There is nothing unexpected on Hotspot, but to trace the contours of the expected with Pet Shop Boys is never without reward, and they're certainly in fine form. Fans will find much to enjoy here, but Hotspot is best viewed as a victory lap.