Although Cool World doesn’t stomp with the same weight of God’s Country, Chat Pile’s stylistic experiments pay off.

Like its sister album, it is unexpected, unfiltered, uncomfortably messy, and dizzyingly fun.

His self-produced beats do more talking than his words, filling in emotional blanks with a 4o-esque fogginess and R&B samples that add some longing to his nonstop raunchiness.

Mixtape Pluto seems to grind every cliche and caricature sketch of Future into pulp, then mold it into something odder, more alien, more jagged and delightfully misshapen.

Ultimately, the album functions as an offering, an effort to commune with the listener despite the limitations of language and the specificity of her pain.

That unpredictable quality control makes Coldplay frustrating to defend or dismiss—for every questionable choice, there’s a 6-minute nu-jazz vamp or classical prog-pop opus waiting around the corner.

Compared with its predecessor, Cutouts is looser, funkier—a thrilling testament to the near-telepathic chemistry these three musicians have honed across two years of touring.

It’s too frantic, too kinetic, and has too many places to be, which over the course of the album makes the essential beauty of Greep’s singing and the featherlight precision of his band feel like a front they’re tiring of holding up. It’s fitting, even artistically admirable, that such strain makes The New Sound’s music an appropriate wingman for characters who struggle to maintain basic human kindness. But it sure makes for an uncomfortable conversation.

“NO TITLE” is not without its mournful, meditative passages (could an interstitial track called “Broken Spires at Dead Kapital” be anything but?), but the album more frequently provides accessible and expedient pathways to its moments of communal ecstasy. It’s a record that welcomes you in rather than making you work for it.

The Hard Quartet lets us into their circle for just under an hour; it’s hard not to want to bask in its stoned brilliance even longer.

Her songs remain as focused as ever, and she uses these other musicians with the same consideration with which she uses various techniques; nothing is simply spectacle. More than anything else in Williams’ catalog, Acadia is open to tangents, wild ideas, sudden realizations, and sustained moods.

Her writing is focused and concept-driven, often scaffolded around a single word or image. “Coffee” and “Kaleidescope” are lesser examples—not coincidentally, both are rather somber piano ballads—but “Picture You” is perfectly executed, conjuring drawn curtains and flickering candles in the bedroom where Roan fantasizes alone, “counting lipstick stains where you should be.”

AI is simply another tool that will sometimes be used badly and sometimes be used well, and on Honey I think it’s used well.

Blood Incantation not only understand, but delight in what makes the best prog endure: lush textures, dizzying interplay, undeniable groove, a sense of worlds beyond. Toward the end of the album, the band digs into an unsuspectingly aching black-metal churn, the maelstrom building to supernova levels as Riedl’s screams stretch to an infinite howl.

He’s finding new aural and emotional textures within a familiar genre. Those fresh sounds are married to the sturdiest set of songs Strings has written, with defined melodies distinguished by flashes of empathy and wit.

EELS is relentless, hooky, and thematically looser than the band’s full-length debut, 2023’s When Horses Would Run, which reveled in the mythos of the American West. This is music of fine details and huge sentiments.

Mustafa’s pliant, breathy singing holds all these threads together.

For 56 minutes Foxing alternately thrills and confounds but provides little in the way of catharsis.

White Roses, My God won’t be for all Low fans, and though—perhaps as with the strangely comparable posthumous SOPHIE album—its reception will certainly be softened by goodwill, it stands alone. Sparhawk releasing a record this immediate and inchoate feels like a gesture of faith, in both listeners’ patience and the musical futures it might yet bloom.

As a legacy product, it justly preserves these 16 songs, some of which are as good as anything she’s ever done. But it’s hard not to wonder if this is really it. Part of the issue is structural. SOPHIE is roughly comprised of four sections of four tracks each, with the strangest works up front.

Across the album, his voice is helplessly buried beneath vocal processing and mixed conspicuously low, as if to purposely obscure his lyrics. These effects aren’t new to the Voidz, but on Like All Before You, they dominate, obscuring any humanity in Casablancas’ vocals.

Lowe has created something daring and unwavering in Lover, Other. In using her most provocative production to date, she doesn’t dim the shine of her primary instrument—instead, she highlights its brilliance.

Aside from some fleeting hellacious decisions, like the jump scare of a warbling child’s voice that opens the cloying final track “Wonder,” 143 is mostly just…there.

Odyssey isn’t just full of ideas; it’s full of good ideas—rich, challenging, and inspiring in their largess. A decade into the new jazz boom and seven years on from Garcia’s debut EP, Odyssey shows ambition and style.

Tasteful and slick, approachable and antiperspirant, less oceanic ecstasy than the pool party of the year.

At times Wish on the Bone can be non-specific, and the universality of Howerton’s feelings becomes untethered and slippery. Perhaps that’s why the album ends with the brief, incisive finale “I Took the Shot.”

Aside from the sheer invention, what’s most striking about Viewfinder is Eisenberg’s ability to crystallize their complex, nuanced thoughts about the limits of perception without creating new dogma in the process.

This is the first album where Yanya has worked with only one producer, and having a steady collaborator gives the album a cohesion you may not have noticed the previous two didn’t have. The sound is unhurried and lush, with Yanya’s voice confidently tender.