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.

Knotty, distorted, and alien, Shirt operates only in intensity and extremes, an adrenaline shot for a songwriter liable to get lost in dreams.

When Forsyth piles on effects like Quine does, as in the wild wah-wah of “Versatile Switch,” he risks sounding tasteless, too. But these are faults that BASIC are glad to share with their namesake, proof that they truly embrace its sound. For Basic’s devoted fan base, This Is BASIC is evidence, finally, of the album’s enduring influence.

Migratory balances this restlessness with an equanimous serenity unruffled by the gales, confident that Fujita’s scrupulous hand will catch the next updraft.

Now all parts of Shepherd are on display, the scientist-DJ-producer-jazz-musician who can have his cake and eat it, too.

Unfortunately, Fat Dog’s debut slumps right in that tepid puddle, weighed down by gimmicks, cheap irony, and unearned mythology. Rather than stoking rapture or rage, it prods with hollow indifference. More a whimper than a woof.

Richter’s approach is almost too cut-and-dry; there’s none of the messiness that comes with processing emotion or the tension and release that defines catharsis. But closer “Movement, Before all Flowers” offers a welcome surprise.

Endlessness is more than a crafty marvel, or even than the sum of its vaunted parts. It feels like a feat of physics.

With these songs, you can hear the love letter to aughts rap-rock that Bear aimed for, not a misguided attempt at catering to Fortnite players. Unfortunately, most of Hole Erth comes across like the latter.

Mercury Rev have created so many otherworldly symphonies in the past, but there’s very little of their previous ingenuity or vision on Born Horses. Everything shimmers and sparkles in roughly the same way, with very little to distinguish one song from the next.

While contemporary political and personal unrest continues to invade the lives of Molchat Doma’s members—and those of many other people—their music remains firmly rooted in the past. Even if it’s not entirely innovative, it offers a sense of security, and that can be its own reward.

What’s Wrong With New York? isn’t inventive or texturally weird enough to geek the analog synth heads, and its hooks aren’t massive or sticky enough to work as pure pop either. The embrace of pretentiousness and artifice comes at the expense of real emotional complexity and memorably witty writing.

Lenderman has honed his songwriting such that I’d nominate a couplet for short story of the year: “Kahlúa shooter/DUI scooter.” He’s got lines that’ll paint a stupid grin on your face.

Alligator Bites makes Doechii’s stance clear: Nobody puts Doechii in a corner. But if this is the sound of Doechii pushing against constraints, a little friction might not be the worst thing.

Amelia flits briskly from scene to scene, with just enough musical backing to flesh out the atmosphere: shimmering oceanic drones; subtly driving pulses; dissonant whorls abruptly smoothed into reassuring consonance.

Joy isn’t merely happiness felt, it’s happiness earned, and Wild God is a remarkable portrait of a man putting in the work required to cross the threshold.

Ritual holds down his rock-star impulses and ties the album to a specific time and place, settling for the merely pretty instead of the all-consuming. Richly textured and carefully composed, Ritual is an impressive composition, but for Hopkins it feels rote.

In the same way the band’s first records felt like off-kilter interpretations of, say, King Tubby and krautrock, these new ones recast, not retread, what we’ve already heard. Seefeel have still got it, and are still finding new things to do with it.

The Bed I Made is a lovely introduction to their orbit.

As a transitory release, Persona is the best of both worlds: just as ferocious and unrelenting, but with bolder production and deeper hooks.

Though the dreamy atmosphere and embrace of pop formalism make for the band’s most accessible record, You’ll Have to Lose Something is still profoundly challenging.

Nursing wounds while simultaneously trying to put her problems to scale, Tudzin writes unpretentious songs that aim straight for the heart (“I Would Like, Still Love You,” “You Are Not Who You Were”) like the enduring hits of So Jealous.

["Big Mama" is] a brief flash of greatness on an album overwhelmingly satisfied with the mundane.

If the sound of Short n’ Sweet is occasionally fuzzy, its sense of humor is diamond-sharp.

Since their inception in 2016, Magdalena Bay have made aqueous internet pop and low-voltage funk full of pinwheeling arpeggios and inside jokes. Imaginal Disk sounds like that, but bigger and punchier—more keyboards! More percussion tracks! Add a string section!! Synth harp!!! The total effect brings to mind ’90s Madchester, the progression of Tame Impala after Lonerism, and peak CD sonics.

What sets Woodland apart from the rest of the duo’s remarkable catalog is its quiet adventure and clear empathy, qualities that give the sense that Welch and Rawlings are building a new structure upon an old foundation.

The brilliance of Romance lies in its unsettling blend of antic energy with refined craft—in the depths of detachment, Fontaines D.C. strike an engaging pose.

Chapter I, the stronger of the two releases, features one of Crockett’s most personal and well-executed ballads to date, “Good at Losing,” a solemn ride-along through the years he spent traveling aimlessly. The title track, “$10 Cowboy,” is another highlight.