Incorporating varied delivery and production, TA13OO taps into his established style, which combines aggressive trap with rapid-fire bars ("Sumo," "Super Saiyan Superman"), while also adding smoothed-out hip-hop atmosphere and patient vocal restraint ("Sirens," "Cash Maniac"), which was only hinted at on Imperial's throwback gem "Zenith." TA13OO is split into three sections--Light, Gray, and Dark--and delves into introspective self-examination and unflinching social commentary that tackles politics, sexual abuse, and mental health.

Simply put, (After) is another brave and beautiful document tracing how Elverum's sorrow and love continue to change shape.

The previously released portion of the compilation, significantly less than half of its 36 selections, all dates from 2010-2017, an era represented with Teebs and TOKiMONSTA's warped beatmaking, Daedelus' MPB-tinged folk, Martyn's pellet-spraying U.K. garage mutation, and disparate varieties of funk from Mono/Poly and bass god Thundercat. ... Among the other exclusives and glimpses officially issued first through this set are Thundercat's trippy "King of the Hill" (with BadBadNotGood), Miguel Atwood-Ferguson's sublime "Kazaru," and Moiré's Prescription-meets-Dial beauty "Lisbon," progressive slices of soul, jazz, and house.

Shah presents as a mystery wrapped in an enigma, when in reality she's just innately talented and resolute in her convictions. Unsurprisingly, the mesmerizing Kitchen Sink distills those two predilections into something that's both compelling and otherworldly.

Data Lords is a poignant and pointed jazz masterwork that adds weight and spiritual heft to our existential struggle.

On every track, Minus gives listeners a clear sense of her worldview and balances all the elements of her music with an organic sophistication remarkable for a debut album.

An R&B-rooted set that glows with elements of atmospheric house, spangly garage, and racing drum'n'bass. ... It's just as enthralling -- and empowered -- as any of the club tracks.

What's particularly enjoyable about Mehldau's approach is how he keeps each song recognizable while making it his own.

He is a gifted songwriter and musician who delivers his art as public therapy. At some point, though, it would be refreshing to hear Christinzio sing about something other than his own turmoil.

The music is lush, advanced, and welcoming, and comes off without a trace of bloat or conceit. This is easily a top pick for best albums of 2023.

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.

The album isn't designed for short attention spans or playlists but as a holistic experience that rewards committed listening with a mind-blowing sonic saga that rages, challenges, and changes more times than can be counted.

As focused as it is ambitious, Boxeris riveting.

Simultaneously sad, strange, and warmly nostalgic, Some Rap Songs is excitingly listenable and emotionally connected despite its abstruse approach. The album's triumphs are in its fearless risk taking and the insight it allows into the journey of Earl Sweatshirt's constant creative regeneration.

That quarter-century span should be a tip-off that this is not a lean, coherent, purposeful album, but rather a collection of every listenable thing Otis completed over the course of 25 years, and in that sense, it's pretty good.

It's crowded, confusing, ridiculous music, but despite its scary intentions, the album's renegade production and impressive performances make it more exciting than frightening.

Reflection doesn't quite have the shock of the new that For You and I did, but its best moments are still powerful, and it would be impossible to mistake the album for anyone else's perspective.

The songs are honest, deep, and direct, but never heavy-handed. Mostly, The Candle and the Flame finds Forster taking stock of his long and storied life, and grasping at some of the many moments of love and beauty he experienced along the way.

Listening to Good and Green Again is like visiting a warm little den where the songs of yesteryear spend an easy hour catching up on the news of the present. His is a peculiar gift, but one he's learned how to use to great effect.

This is music ripped from one man's heart and soul, and if it sometimes makes you uncomfortable, that means Wovenhand have done their job well.

From years six through ten, Hyperdub has remained as reliable and forward-thinking as it was during its first five years.

It sounds exactly how an underground sensation's breakthrough album should: bigger and tighter than their earlier material, but not so polished that it will scare away longtime fans.

Popular Problems reveals that at 80, Cohen not only has plenty left, but is on top of his game.

The overall effect of Ravedeath, 1972 is a balance between sheer sonic wooziness and a focused sense of construction; nothing seems wholly random in each song's development even as the feeling can be increasingly disorienting.

To say this album is a return to form wouldn't be quite correct. It's an extension of it.

American Dream isn't just a triumphant comeback, it's another great album by a great band.

This might not necessarily qualify as an archival record filled with unexpected revelations, but it is filled with wonderful music that deepens appreciation of Bowie's first great blast of creativity. Needless to say, any true fan needs it in their collection...

Their brightest, most accessible album to date... the band is absolutely brimming with confidence and vitality.