Rainier Fog is more than just another Alice in Chains record; it's another step in the process of redefining their sound since their first comeback record, 2009's Black Gives Way to Blue.

Intentionally or not, Hynes has surreptitiously convinced listeners to deeply engage with his art; we're digging for the grooves, searching out the hooks while questioning our own habits and assumptions, as we look for our own meaning in the music. And there's plenty in Negro Swan.

The trick to With Animals is its brevity, as only two of the album's 12 tracks surpass the four-minute mark.

Interpol are far past the point of trying to recapture their glory days, but even their attempts to change things up come off as a mixed bag. Prospective fans and diehards alike are better off starting at the beginning.

After five or six songs, it has a sonic and thematic sameness to it that manages to work solely because of the glimmering moments when he allows other voices to sparkle and the high-quality production.

Short on hooks and obviously memorable moments, Songs You Make At Night is an album that excels in texture and dynamics instead, each thoughtfully composed song an intricate clockwork of whirring percussion and interlocking guitar and synth work.

This record is a far cry from a mocking treatise on performativity; it's strongly felt, unceasingly surprising and just a whole lot of fun.

Swapping out the distressed warning signal that slides in midway through with shrill synths that run the rest of the song, the adaptations across Woman Worldwide offer a live experience without the cost of admission, and a well-crafted look at some of Justice's best.

The narrative of Dance on the Blacktop is a hard-to-swallow reality check, but flourishes in the closing "(Hope) Is Just Another Word with a Hole In It." Nearing six minutes, the song is ambitious and rewarding. When Palermo's vocals and piano come to fruition in the mix, there is a sense of optimism, as though he might be smirking at his demons.

Where Wake in Fright felt lean and energetic, The Long Walk is bloated and tired, not so much a fulfilling, purposeful exercise as a slow crawl to nowhere in particular.

Powers has found the perfect balance between melodic sounds and a darker aesthetic, making his new creative endeavours come more into focus.

Ultimately, beatmaker Tommy "TBHits" Brown outshines the veterans, co-producing two of the record's more engaging tracks--"Better Off" and "Goodnight n Go"--which are inexplicably relegated to the end of the record. Those songs manage to accomplish what the rest of the album attempts: bringing a new fire to pop-R&B's familiar formulas.

Her tranquilizing balance of wandering purity and unconvincing bravery is intimately grasped and yet confronted with anxiety and disbelief that decorates her daydream-like prose in conflicting ways.

The result is a record that is powerfully alluring and timeless.

Baby Teeth's gentle delivery and textured production creates a world in which listeners have an opportunity for reflection, situating their own experiences within the band's storytelling.

For fans of Animal Collective's trippier inclinations, Tangerine Reef is a pleasant bit of oceanic escapism. For new listeners or anyone looking for the next "My Girls," this is decidedly inessential.

The album is all the more impressive because her words and music are meticulously calculated, expertly arranged and still filled with feeling.

It's an analogue oasis of the past that rejuvenates for the present.

They've still got a solid ear for dreamy, yet captivating melodies, but with the confidence to push their sound in new directions and see where it takes them.

With Dissolvi, Steve Hauschildt rediscovers his adventurous self while taking delight in the human element.

Whether Nicki Minaj is the rightful queen of rap is up for debate, but the album, despite having several songs that were more filler than functional ("Sir," "Majesty," "Chun Swae"), highlights her ability to adapt to an ever-changing sonic landscape.

Ultimately, Thank You for Today finds the Death Cab for Cutie of 2018 taking stock of their band, choosing to forge ahead by using the foundation of their back catalogue to harness their core identity and build upon it. The band's shared vision is clear, encapsulated in this collection of songs.

It's Foxing in a new shape, a first-hand witness of the evolution of a band that were really good just the way they were. While these changes may not be welcome with open arms, the thoughtfulness and artistry deserves a round of applause.

"Not Running" and the aforementioned "Little Death" have especially great arrangements, but it's a highlight throughout Future Me Hates Me, and anyone who loves British indie punks Martha for this reason should be laser-focused on this debut from the Beths. Future you will definitely not hate this album.

Baby Grand is a wide-screen, psych-pop gem that continues to realize his potential in rewarding ways.

Whether Miller is singing on those funk-inflected highlights, or rapping on them with a flow that's airtight to their irresistible rhythms, he sounds like a would-be chart-topper, not to mention one of the most versatile and accomplished hip-hop artists working today. He also clearly has pop chops to rival those of his former flame.

Fujita is a rare talent and Book of Life should announce him to a much wider audience as a vital composer with a unique voice, one I hope and expect we'll hear grow and evolve for many years to come.

For a short album--only ten tracks in 24 minutes--it doesn't take long to recognize the beauty of Bell House.