Goodness does more than remind of existence, it makes the promise of a new day, and even the everyday, feel more alluring.

Live in London delivers more than an hour and a half of seamless music and comedy that doesn’t require skipping around.

Reinterpreting and rearranging a series of older songs with new tones and styles — especially songs off of an album widely acclaimed for its tone and style — is a vision that not everybody could pull off, but Olsen does.

It’s this fusion of generations that partly makes Loud Bash such a fresh and exciting record. There’s plenty of Replacements hero worship going on with the loud, tumbling arrangements and sweeping vocal hooks, but that’s what being a teenager is all about.

His development extends beyond just his writing. Pusha picks a wide-ranging group of thumping beats from noted rap greats like Kanye West, Q-Tip, Metro Boomin, Sean “Diddy” Combs, and most effectively, Timbaland.

It’s a delicious amount of fun and presumably would’ve felt like a treat had it arrived any time of year — but for The Age of Pleasure to become available just as summer truly begins to heat up feels intentional.

What makes Cadillactica arguably his best full-length to date is that he’s never sounded more determined to chart every foot--or every layer of atmosphere--in between.

Over its 11 tracks, Splid consistently churns out raging banger after banger, allowing for the record to roar with metal bliss. The creativity expressed in Splid is matched by its intensity, as Kvelertak embrace the metal spirit throughout the album.

Faith in Strangers is more than an album that comes to life. It details life from the inside out, focusing on each movement’s innards rather than its outer coat.

Another strong record worthy of their consistent discography. Longtime fans will find plenty to enjoy on Tonic Immobility. The supergroup’s musical personality remains intact.

Good News showcases Megan the Stallion’s creative depth, her euphonious inventiveness, and libidinous wordplay.

Semper Femina does not reach the soaring intensity and edged elation of Once I Was an Eagle, nor does it carry almost any of the freaked-out electricity that propelled Short Movie and allowed it to stand as a worthy successor to Eagle. But it is a strong, elegant, and self-assured album that, in its creative arrangements and lyrical world building, contains remarkable complexity and depth in terms of both skill and concept.

The Wild is a worthy addition to Raekwon’s extensive discography and should comfortably take a position near the top of most fans’ lists.

This Lost Themes run is the best legacy sequel in this exhaustive era of legacy sequels, and if we’re lucky, the credits will never roll.

In under 30 minutes, Next Thing proves that honesty can go a long way, and vulnerability, contrary to its temporariness, goes even longer.

Lahey stands out for her versatility. With buoyant wit, she rolls with the changes and delivers a lucid, omnivorous perspective that’s all her own.

Chemtrails over the Country Club is a gorgeous listen: charming, clever, and vulnerable. Del Rey is as effective as ever in painting American fantasies, evoking nostalgia for realities always out of reach.

3.15.20 truly showcases Glover’s talents as a musician, producer, and songwriter. It’s a balanced body of work, not through its similarities, but rather its extreme contrasts.

His wordplay, comparable to his friend Ab-Soul’s, remains integral to his approach, but here he’s more personal and purposeful than he was on his mixtapes, rapping about rapping but also lamenting the realities of being young and black in America.

Altogether this album feels like its own artifact in the making, ready to haunt listeners and filter its Morse code and snapshot stories through their speakers for years to come.

Sparkle Hard is at once his most sonically adventurous and structurally tight set of music in over a decade and easily stands among his most rewarding work with the Jicks.

It’s full of the kind of warm G-funk that never fails to transport you to the part of the country it belongs to.

DS2 is his strongest campaign yet, and it’s the first time a new Future album has met all expectations.

The Detroit rock veterans’ most refined release yet, Relatives in Descent is a sermon on truth, anxiety, and our lack of understanding of the world around us. As ever, Casey is our trusty narrator, leading us through the darkness with his signature brand of wit, wisdom, and bitterness; like a winning combination of Drunk Uncle and Mark E. Smith, he is both commanding and pitiful in his delivery.

Jeremih’s vision is astounding, and the places in which he gets to indulge in adventurous risk-taking more than make up for the safe plays that surround them.

Unassuming and minimal in its execution with a whole that’s greater than the sum of its parts, Sleep Cycle establishes itself as a captivating journey inwards towards a destination that’s as comforting as it is reaffirming--and likely what a lot of us need for a good night’s sleep.

From start to finish, the album does a great job of capturing the nostalgia and wisdom of age without losing sight of the youthful tenacity and outspokenness that’s always made him unique. Backed and guided by some other truly talented folks, Costello’s latest is another pleasingly characteristic and weighty addition to his already illustrious legacy.

The strength of this album, and the 14 that precede it, is the immense healing and soothing found in the sheer beauty of Amos’ vocal delivery.