Glover is clearly better than he's ever been in almost every regard; his rapping, singing and everything in between feel refined to a point they never have. The issue is that, without the movie, there's no connective tissue between these songs, as great as the majority are. For now, Bando Stone & the New World exists as a collection of songs that are mostly great, but lack any real sense of cohesion between them.

NO NAME isn't quite as white-knuckled as the first time White made music like this, nor is it as hooky as those White Stripes songs that took them from underground weirdos to superstars. But it's exciting to hear White fully return to the sound he's best known for, with its no-nonsense execution heightened by the thrilling manner in which it was released.

Inoffensive music Iike this is an affront to the very idea of what makes music so worthy of obsession and analysis. It's the antithesis of self-expression; this ain't no victimless crime. For the first time, I understand the term: this is pure co-worker music.

David's voice still sounds boyish after all these years, but All Hell noticeably showcases his increased range. Call it getting older, but it makes these songs that much more dynamic.

Longtime fans should recognize Lady on the Cusp as a strong late-career addition to of Montreal's vast discography, mainly due to Barnes's larger-than-life persona. But you can only be the horniest freak at the party for so long before it starts to get old.

While the majority of Harmonics was written solely by Goddard himself, he allows his songwriting to be elastic, bending and shaping around these guest vocalists, resulting in one of the most personality-filled albums of the year.

Wolf sounds like she's having the time of her life showcasing her range as a vocalist and songwriter.

Her experiments with cross-stitching sometimes unravel, but even the loose ends make for powerful listens.

C,XOXO isn't a bad album, particularly when stacked against the imagined disaster it could've been. The problem is that it sounds like it's been purchased from other talents rather than being curated and homegrown by Cabello and her team. You gotta hand it to her for trying though, even more so for the fact that it nearly, just nearly, works.

Strut of Kings requires more than just a first go-through, as much of the album could have benefitted from moving past the "first thought, best thought" rubric. Although it seems crazy to say, this is an actual Guided by Voices album that could have benefitted from an editor.

When Love Heart breaks the feedback loop of its own foundational creation is where the record is at its most compelling.

The variety of doors presented in the album's quest for answers, or more questions, present a challenge for those who prefer a more cohesive experience. For the adventurous though, the doors crack open onto a wide variety of styles and time frames.

The Oakland, CA singer's most sonically eclectic collection to date, the record bounces from club tracks to acoustic ballads and her personal brand of R&B that's been the backbone of their career.

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.

The record's first two-thirds are very well-paced, from bashfully stoned ballads to instrumental to extended Floydian romp. It makes it all the stranger to see the album fall apart toward the end, where indistinct sanguine ballads are sent to die.

Meloy has his art down to a science, and the Decemberists take their fans through as winding and rewarding a trip as ever, complete with an abundance of twists and turns that suggest that the journey, long as it may be, is the true reward.

Although the band clearly wears its assorted influences proudly on their collective sleeve, this diverse approach can sometimes hinder progress, resulting in some songs that are vibrant, complex and uniquely Cola, while relegating others to the derivative badlands.

Wallows play it safe on Model, with a lack of distinctive storytelling shackling the album to its mid-tempo pop melodies, its highs too few and far between.

It's one of 2024's must-hear strokes of genius, crossing linguistic borders with its expression of understated, comforting beauty.

While it may be early to qualify his style or sound as timeless, it's managed to stand the test for the past 10 years and he's done nothing but hone his skills.

A rare and energetic vision of unfiltered creative impulse from a brilliant prophet of pop.

This is a well-travelled band firing on all cylinders. Enjoy it with a terrible house beer and hardworking, sweaty company.

A further expansion of the clean stream of consciousness that is her discography, Chaos Angel proves, at its worst, that Maya has found her groove and ain't nothing's going to break her autumnal stride.

Designed for finding communion with others while staying true to oneself, I Hear You touches the timeless with an ethos of openness, striking a vibrant and dynamic balance between familiarity and freshness.

While it can be embarrassingly earnest at times, impressively, the music never comes across as self-conscious or unsure. As always, Khan is unapologetically herself, and we're welcome to come along for the ride if we'd like. I'm happy I did.

On Big Swimmer, they embrace the uncertainty of it all with refreshing stamina and poise; letting the forces at play wreak some havoc so that they may reach new ground, transformed.

An incredibly concise and cohesive project, Dark Times clocks in at an airtight 35 minutes across its 13 tracks.

With Dark Superstition, Gatecreeper have cemented their place as one of modern metal's most visceral, exciting and endlessly-listenable bands, and the album is a more than worthy addition to their already-accomplished catalogue.