Offers up one superb song after another.... Even if you don't consider yourself to be much a Latin music fan, do yourself a favor and check out Canto.

The LP is top-to-bottom danceable and sequenced with each track setting up the next, through the ecstatic finale, where Beyoncé most potently mixes sensuality and aggression, claiming her man with nods to Donna Summer, Giorgio Moroder, Patrick Cowley, and Larry Heard.

Although Black Rainbows is a uniquely conceptual work and sticks all the way out from Corinne Bailey Rae, The Sea, and The Heart Speaks in Whispers, it's at least as personal as any of the singer's first three albums.

On Grey Area, it feels as if everything has come together in perfect unison, resulting in one of the strongest rap albums of 2019.

Like its predecessor, Sex, Death, & the Infinite Void treats naval-gazing like a spectator sport, with each death-obsessed narrative resolving into a gang-vocal crescendo ("God can't save us, so let's live like sinners") of stale cigarette smoke and beer-can-crushing outsider solidarity.

Travel is very much a Necks album and lines up seamlessly with the trio's vast catalogue. It blossoms with new ideas, fluid spontaneity and fresh ideas. For newcomers curious about the longstanding trio's music, Travel is a truly excellent place to begin.

Leaving the listener with a sense of sweet melancholia, Amarante wraps up with "The End," a dusty-voiced piano ballad that serves as the closing credits to Drama's captivating journey.

Understanding all this stuff enhances the enjoyment of the album, but it is not required. A few tracks merely push the album along, and a gaudy Of Montreal collaboration is disruptive, but there are numerous highlights that are vastly dissimilar from one another.

Thanks to maturity, Fridmann's mix, and uncanny sequencing, every song fits seamlessly inside each proceeding one, delivering a mercurial yet satisfying whole that makes Gold & Grey the band's finest outing to date, if not their masterpiece.

The Ties That Bind: The River Collection, like a high-profile DVD release of the 2000s, is more about the bonus features than the main feature, but the extras lend an invaluable perspective to one of the most important works in Springsteen's catalog, and this set makes it possible to imagine the many chapters that could have been added or removed from the album while still telling the same powerful story, as well as documenting the thought and effort Springsteen put into the process.

Despite its authoritative command of the languages it speaks, it carefully hews a meditative space for the listener at heart level inside the music; it is both inviting and enveloping.

It's the kind of big, unabashedly emotional album that people make memories to, and some of Wolf Alice's most confident and fully realized music.

Given its wonderfully crafted and performed material and stellar production, it is the country album of 2010.

GUTS is emphatic proof that Rodrigo isn't just good for a kid -- she's grown into an artist with plenty of things to say, and the confidence and eloquence to say them her way.

With No Closer to Heaven, Campbell and the Wonder Years have made an album that's more mature and thoughtful than before, but no less passionate and direct, and it ranks with their finest work to date as well as suggesting this band has an interesting and exciting future ahead.

The ever-shifting tone of Speak to Me asks the listener to keep up with the Lage's quirks and mood swings, but the sum of its parts is quite dazzling.

Able to make the timeworn themes of sex, drugs, and rock & roll and the basic guitars-drum-bass lineup seem new and vital again, the Strokes may or may not be completely arty and calculated, but that doesn't prevent Is This It? from being an exciting, compulsively listenable debut...

This is no nostalgia trip or callous comeback. It's a giant exclamation point on the end of a brilliant career. It's also a tribute to the everyman genius of Phife, a widescreen look at the record-making skills of Q-Tip, and most importantly, it's a pure, undiluted, joyous thrill to have the Tribe back and still sounding this vital.

Hour-plus length and stylistic variety likewise signal that SOS could be the overreaching kind of highly anticipated follow-up. Still, it's an advancement from Ctrl in every respect apart from cohesion

While the double-disc edition is quite a handsome thing in its own right--the Super Deluxe Edition is something special thanks to the alternate version of Quadrophenia, which contains six songs cut from the final album.

There's a distinct community theater vibe to the whole affair... but the majority of Illinois is alarmingly earnest.

Carrie & Lowell is the most harrowingly personal work Stevens has offered us to date; it also ranks with his most skillfully crafted albums despite its spartan approach, and it's a sometimes difficult but profoundly moving work.

The brothers and sisters in arms, longtime partners (Thomas McElroy, Taura Stinson) and new associates (Brook D'Leau, Daniel Crawford) alike, play in service to the vision of one eminent artist, helping him convert grief to artistic brilliance.

The first and lasting impression of No Cities to Love is one of joy, a joy that emanates from a group who realized the purpose and pleasure of being in a band during their extended absence.

While nothing here is quite as creative as Laila standout "Jesus Coming," the MC's lyrical marksmanship, top-tier mike command, and service to her people and culture are indisputable.

They grew up strong and they grew up fast, so fast that their recordings retain a visceral force that makes The Complete Beat something more than a dream come true for fans: it is a convincing argument for their greatness.

Joni Mitchell's powers as a songwriter and creative spirit are unparalleled at every step of her journey, but her output in the '70s was on a higher plane, even for her. Archives, Vol. 3 reflects this with behind-the-scenes material just as storied and worthy as the music that Mitchell was making during one of her finest hours.

Already masterful at creating sad, smart songs, Bridgers reaches new depths with Punisher.