It's Waits' best album since Rain Dogs, and may possibly be even better than that--only time will tell, but it will be time well spent.

By taking various elements from not only their collective past, but also the work they've done separately, Radiohead has created something wholly new and utterly entrancing.

There’s the promise of another knockout. One that, unfortunately, takes the liberty of reshaping past half-baked ideas without really adding much flair to Clark’s otherwise intriguing exploration of fame and femininity.

The further you get, the sharper the writing becomes and the more introspective and unique the album feels.

They haven’t exactly lost their sense of intrigue, it’s just that on Dear Science it all sounds a lot less intriguing.

Introvert is a beautiful collection of poems filled with stories and experiences, on which Simz doesn't skimp on resources and thinks big.

Although Sometimes I Sit and Think is musically straightforward, Barnett doesn’t need anything more to tell great stories.

It is intelligent, thrilling, unique, and endlessly replayable—challenging, yes, but always worth the effort. .... This is her Hounds of Love, her Brat. Yes, it’s that good.

While there are moments that feel less remarkable (the insignificant Hasdallen Lights or the groovy but repetitive Asteroid Blues), Heavens to a Tortured Mind succeeds when it’s mostly focused on creating a sensual yet serious mood throughout.

Gibbs is a masterful curator who knows who to match his flows with, like on God is Perfect and Look at Me, splicing soul loops, movie clips, and inventive beats etched into his gruff vocals. The beats are an attraction in itself, but make no mistake: they wouldn't be as good if Gibbs weren't behind the mic spitting his poetic yet matter-of-fact observations.

Olsen immerses herself into an intricately crafted and honest piece that doesn't resonate as distinctly her own.

Vile Child is a debut LP that is rife with a resounding honesty and an airtight dexterity.

Hamish Hawk is an outsider’s outsider with a fast-track ticket to natural treasure status. In a just world, the majestic Angel Numbers will make him a breakout star.

There's a marked inconsistency in her voice—something lilting, sometimes guttural--navigating her usual distress with a presence that is as hammy as it is heartfelt.

It’s beautiful, inventive, catchy, heartbreaking, addictive, and bursting at the seams with ideas. It captures a performer truly at the top of their game, throwing everything into a project so that not one second is wasted. It’s a record that makes you fall in love with music again, a record you feel privileged to experience and a record that imparts fundamental human truths.

While this is one of Springsteen’s most genuinely energetic and exciting releases in ages, it isn’t constantly uptempo.

A work of art, slightly rough around the edges and a little makeshift, but tremendously beautiful all the same.

The good news is that there is no real filler on the album, but this uniformity of quality equates to an album where every song is good, but where few are really great.

While much has been made of Jubilee being an album about joy—and in some ways, it is—the majority of the third Japanese Breakfast album captures a full breadth of emotions. ... It’s on the back half of this album where things don’t click as strongly.

It’s as brazen, bold and brilliant as anything it’s done thus far. It is, as Thom Yorke claimed, very minimal. Yet, the album never sounds half-finished, but instead focused and refined. It’s as vital as anything the band has done.

The Woods is solid, well crafted and intensely energetic, but a magnum opus it is not.

This album is incredibly intriguing and was executed beautifully.

Monoliths & Dimensions, present O’Malley and Anderson’s sonic murk as something to delve into, their inescapable walls of low-end suddenly beaming with purpose and a million and one instruments.

Whether Bleeds marks the end of a nice run or the beginning of a legendary one remains to be seen, but for now, let’s just enjoy one of the stand-out releases of 2025.

The process of writing this album was personal and intimate, but the end result is a confident, bold debut.

Bandana is one of the most satisfying rap records I’ve heard so far in 2019.

While doom metal is typically considered too droll and meandering for most non-metal fans to penetrate, Foundations of Burden transcends the genre so well that submerging oneself in the album’s striking melodies and crushing riffs feels almost effortless.

One of the most spectacular and intense albums the group has released yet.