It's ambient music at its absolute best, providing a space that the listener can be enveloped in completely just as easily as they can drift away from it without noticing.

Every bit as creative and trippy as L'Rain's first two albums, I Killed Your Dog has some of the artist's most relatable lyrics, and cuts closer to the bone.

Perspective displays how her music has evolved from its roots in club culture to the realm of contemporary composition, retaining such a distinctive sound that the boundaries crumble.

Not many groups sound more mysterious four albums into their career than when they began, but these shifting, shadowy visions suggest Vanishing Twin have more tricks up their collective sleeve.

It might not be the worst Drake album, but it's in the conversation for sure.

Working with around a dozen producers and co-writers, among them Life Support's Leroy Clampitt and One Love, its more intimate character was at least partly inspired by Lana Del Rey.

We Buy Diabetic Test Strips feels like a step forward from a duo whose discography has been consistently innovative from the start.

Compared to the debut, the songs are a little tighter in structure, communicate more, and bounce from style to style -- whereas Lost & Found presented an evolved, commercially minded brand of street soul -- with introspective R&B always somewhere in the mix.

Javelin is an album about the need to be loved, agape and philia, and Stevens shows that he can write about both without trivializing or minimizing the importance of either.

Layover is a gorgeous dose of adult-oriented pop that might be unexpected for those expecting the big BTS sound, but that's a big part of the allure.

Hostile Environment is a triumphant comeback effort, and it continues On-U Sound's run of late-career highlights from veterans like African Head Charge and Horace Andy.

Smith helps give Blues Deluxe, Vol. 2 a loose, lived-in feeling that contrasts with the eager fire of the 2003 record. It's a change that suits Bonamassa.

The Dark Side of the Moon Redux doesn't offer uninterrupted talk but the stress is placed firmly on the words, to the point that "The Great Gig in the Sky" now doesn't float weightlessly: it's now about a letter Waters wrote to the assistant to Donald Hall when the poet was in his last days. It's a subtle change but it's a substantial one, turning Dark Side of the Moon into a voyage inward, not outward.

An album that sustains a mellow, melancholy mood without quite distinguishing itself as a collection of individual songs. Then again, that's kind of the point of the album: it's a pensive soundtrack for a specific season, nothing more and nothing less.

He's explicitly treating country music as a genre that evolves, one that can encompass all manners of stories by building upon what's already been laid at the foundation. With its empathetic heart and kinetic kick, Rustin' in the Rain illustrates how vibrant and vital that idea can be.

Bewitched offers up 13 tender, decade-defying originals in all, alongside a seductive, loyal version of the Erroll Garner standard "Misty."

Come with Fierce Grace is easy to embrace on its own -- even if some tracks lack distinctive identities. No matter its release as a separate entity, Come with Fierce Grace is part and parcel of GOLD; it's not a mere sequel but a truly worthy companion album.

Coin Coin Chapter Five: In the Garden's collision of styles, genres, and individual and group voices are not only welcome, but essential to the process of Roberts engendering dialogue, celebrating difference, and communicating emotions, psychologies, and cultures, all testifying to the import and cultural and artistic achievement of her evolving project.

Lydia Loveless has matured into one of the most compelling and consistently impressive singer/songwriters America can claim, and with Nothing's Gonna Stand in My Way Again, they have matched form and content with a skill that makes it their finest album to date -- no small statement given the strength of their catalog.

Emergent Diddy protégé Jozzy shines on the slow-grinding funk of "It Belongs to You." Another highlight with brilliantly nuanced live instrumentation, "Moments," is Justin Bieber's new exhibit A in arguing his case as an R&B artist. .... Diddy for the most part is his typical self, ceding enough room for each singer and rapper while interjecting some conversational wisdom, relationship analysis, and random chatter with occasional bluster.

Isn't It Now? carries over the inspiration and fire Animal Collective rekindled on Time Skiffs. It finds them reveling in a state of joyful curiosity, but exploring with a knowing control earned through years of getting to know themselves and their singular sound inside out.

Sit Down for Dinner finds Blonde Redhead revitalized. Arriving nearly a decade after Barragán and 30 years after they formed, it's a return to be savored.

Personal and grand at the same time, Again's mixtape of memories continues Lopatin's enduring brilliance at moving forward by looking back.

It's hard to imagine any of these songs immediately becoming crowd favorites, but as a carefully considered mood piece, Cousin is a powerful, affecting work that once again shows how many great things Wilco can do -- and how well they respond to the right kind of creative direction.

Depth and dimension rule the turbulent group improv in "Were You There" before the album closes on a tender, reverent read of "Precious Lord," wherein in each player -- save for the frenetic Taylor -- engages in harmonic blues conversation. Here, the Red Lily Quintet underscores Jackson's import as a visionary and prophet. The approach to her music combines those qualities of the historic past with the power and drama of contemporary life with all its victories and struggles.

The Rat Road is the type of sprawling, inconsistent work that likely only its creator fully understands, but it contains several fascinating, inspired moments.

The album's anxiety and melancholic mindset never abate, right up to and including resigned closer "Fishes," an explicitly metaphorical reference to mounted trophies. It makes for a satisfying, if unsatisfied, follow-up that both follows the appealing formula of their debut while letting loose on the full-band tracks.

V is definitely a "more of the same" album, but Föllakzoid and Schmidt's human-machine fusion of minimal techno and space rock is still a unique sound that nobody has replicated, other than them.