Aside from the constant stream of new sounds and instruments ("Revolution" may be the first song to utilise a steel drum for its big drop), the other joy of the record is its themes of self-affirmation and courage.

[A] beguiling, all-too-brief album.

Boisterous closer “Love Don’t” leaves no doubt that the Night Sweats are revelling in being a unit once again, after having spent the past few years apart, and they’re all the better for it. Their bluesy soul is being delivered with newfound heart, spirit and zeal, one that makes The Future jubilantly bright.

There are only a handful of pop albums that can sustain epic run times through the power of really, really good songs alone (Car Seat Headrest’s Teens Of Denial is one of them). There’s a story for those who want it and some delightful songcraft for those who don’t. Not a bad compromise.

This box set is a treasure trove for people who’ve never heard any of Iggy Pop’s various bootlegged and semi-official releases over the years, especially the releases pertaining to this era. The quality of these albums – and Bowie’s entire Berlin period – is so high because the sessions were so economical, and no ideas were abandoned along the way.

This universal notion of affecting societal change, whatever your age, is the lifeblood of Book Of Curses and it’s deeply refreshing to hear an older generation of punks who are as committed as the current one to creating a better world for all of us, even if it’s only in a small way.

A return in form for a beautiful promise of future.

This is perhaps the most hypnotic GOAT has ever sounded, once again reinventing themselves, delivering an album that’s not as musically challenging, for willing ears, but it is immensely rewarding, a perfect soundtrack for losing yourself in the wilderness of sound.

While it manifests in a way that’s less playful than on her debut, it’s replaced by a gravitas that befits a sophomore record.

An album clearly made by a mercurial talent, but who still sounds at his best quietly knocking out unassuming dancefloor gold.

Carly Rae Jepsen’s latest doubles down on one of her central messages as an artist--that no force is more potent than the emotions we feel. And while her third LP E•MO•TION certainly established this, on Dedicated, Jepsen’s infatuation with the rush of human feeling soars to dizzying new heights.

Don’t get me wrong, Endless Summer Vacation is a good album with each track deserving of a listen, but in the same breath, the majority of them aren’t worthy of a replay either.

Even while Spiral never quite touches on the grandeur of its predecessor, Jaar and Harrington here appear content as ever laboring over their unique vision.

Drill Music in Zion is strong but weighed down by its heavy message and repetitive structure, ultimately highlighted by lengthy runtimes.

Vu didn’t invent tragi-pop (she wouldn’t deny her numerous progenitors, from Cat Power to Julien Baker); however, her airy melodicism and meme-friendly lyrics, coupled with her technically grounded yet mercurial voice, make for a signature presence.

Alternate/Endings is never a relaxing listen; when the breakneck pace drops, it’s only replaced by an unsettling calm, and one that doesn’t last very long.

Some might consider it messy, and the old adage is, life is messy; well, the latter is true, which lends it its exhilarating beauty.

Let It All In is another strong album in I Am Kloot’s canon, and one which should hopefully see their status as songwriting legends confirmed.

UZU is an ambitious piece of work to say the least, and whilst some of the metallic textures and tones may seem somewhat unfashionable these days, the purpose behind this record couldn’t be more forward-thinking and determined.

Tied To The Moon is a beautiful record, so full of intricacies that it continues to reward with every listen, allowing you to lose yourself in its stories.

Colder has no intention of redefining or reshaping the electronic music world with Many Colours. Instead, Tan seems more interested in seamlessly adding his saturnine musical textures to the growing sonic palette of the modern club scene, while also reminding us all just how on point and of the moment his sound continues to be.

Super Monster’s songs are each a self-contained story, but it’s unclear whether each song relates to a different person in Claud’s life or if they all revolve around the same person. Regardless, the unique identity in each one of the 13 tracks is what makes it such a terrific and arresting listen. Claud’s dreamlike quality of writing makes breakups sound nostalgic, unrequited love enchanting, and rejection a worthwhile pursuit.

Emerging out of a fractious period, Buckingham is at his unapologetically unfiltered best on an album that teeters between yearning reflection and fast-paced kinetics, ranking as one of the tightest records released in his own right

The album is - as expected - a well-crafted, sonically flawless work. What it lacks in heart (as with all of their albums, there's very little humanity in the sound or the lyrics) it more than makes up for in style and finesse, and it continues the band's run of producing quality records.

Theatrical, impassioned, and occasionally heartbreaking, Beat The Champ distills the very essence of classic Mountain Goats into another compelling album.

In its brief seven tracks, Rausch barely makes it over an hour mark, but in that time frame, Voigt gives his listener a lot to unpack and offers the idea that he still has a lot more to say.

Gum Country’s fun is earned. They take a face-value look at life, and conclude that even when it’s hard, it doesn’t need to be heavy.

Crash is nothing short of a victory lap. Every bit as effervescent as its pandemic-induced predecessor, how i’m feeling now. ... This is connected and organic; a celebration of hope, love and spontaneity as both her catalogue and the world at large inch closer to some semblance of their old ways.