It shows that the Some Girls era was, and remains, one of the most productive of the Stones' career.

Musically and lyrically, Achtung Baby sounds as fresh and relevant as it did 20 years ago.

With everything under one roof and no vacancies in sight, the 25th anniversary return to Singles is a pleasant one. It’s a humble reminder of a time when soundtracks could rule the roost and yet also serve a greater purpose.

It’s a grief we hope to avoid and yet a grief we can’t help tasting. Saba makes it near impossible to turn away.

Nova Twins bend and blend genres like alchemists, generating a sound specific to them and the undertones of their social movement. ... Supernova is like our generation’s “f**k you” to every version of “the man,” much like The Clash did in 1977 and Rage Against the Machine did in 1992.

Lemonade marks Beyoncé’s most accomplished work yet. It is the perfect combination of the sharp songwriting of 4 with the visual storytelling acumen of her self-titled record. Here, we see Beyoncé fully coming into her own: wise, accomplished, and in defense of herself.

Sunbather is a developed, mature, and, above all, an original statement that truly lives up to the unbelievable amount of hype it has earned.

Turnstile have already built a devoted following with their previous releases and legendary high-energy live shows, but Glow On takes them to a new level. It’s a fearless album that doesn’t bow to genre conventions, establishing Turnstile as the present and future of rock music.

Using his remaining time, he’s not only putting his house in order, he’s tidying up ours too. You Want It Darker prepares us for his departure and, in turn, shows us how it’s done, so we have a road map--pockmarked by land mines as it is--in place when we reach that stage.

Even though other recent interviews and richly realized tracks like those imply that Ocean's songwriting is just a vessel, his own devil is still in the details, and that's what makes his music compelling.

What Cave and Ellis have crafted with Carnage is a refreshing respite from chaos, a record that sits at the burning edge of dawn and anticipates destruction’s undoing.

Lorde’s overreaches and missteps are just as charming as the incisive parts, so she must be an icon. The board-manning Jack Antonoff’s over-reliance on synths and clicks limits what she can do with this new maximalism, and her insistence on, well, melodrama will occasionally mar her best writing, which remains in the shadows. She’s not a liability. But she can be a forest fire.

Born Against is a triumphant collection of tracks from one of modern music’s most gifted storytellers.

COWBOY CARTER is a worthy entry in an ambitious trilogy, but it isn’t a country album. It’s a Beyoncé album, and what that means keeps getting bigger.

The service Temporary Residence Limited have done in making these nearly lost classics available again is downright admirable, turning out a set that's a must-have for post-rock fans.

Red has aged fairly well overall, even some of the lighter fare. ... The tracks from the vault here are stronger than those chosen for Fearless (Taylor’s Version).

We now have an album from him so masterful that it'd be greedy to ask for much more.

While not a perfect album, Renaissance is pretty damn close. It’s infectious and not overbearing, elegant, but not shallow.

Baroness currently find themselves in a place of great maturity, exhibiting superb musicianship. It’s fitting for Gold & Grey to be the conclusion of the band’s color-themed albums. The array of instrumentation and emotion throughout not only make Gold & Grey a joy to listen to, but also an achievement of which Baroness can truly be proud.

The River Collection isn’t a glimpse of what could have been--it’s raw proof that The River sessions produced too many good songs for one album (even a double album) to contain.

Rodrigo certainly has the capacity for the kinds of nuanced choices that match her vulnerability with active, novel sonics, and GUTS proves that she’s willing and able to embrace the grey areas that these big emotions inhabit. But her fearlessness with a pen in her hand deserves to be matched by the overall presentation of these songs, making it all the more satisfying when she lets these songs bubble up and burst.

By and large, We got it from Here… has the classic Tribe sound: a warm and crisp confluence of East Coast hip-hop, jazz, and more, all mixed and mastered impeccably. While some aspects of the sound are dated, others feel fresh.

It is an absolute monster of a record that clocks in at just over 67 minutes with a staggering 23 tracks — and boy, was it worth the wait. If Ctrl was a near-perfect debut, S.O.S might be an inch closer to masterclass status.

By forsaking greatness, Stevens has unearthed a wonder altogether more tremendous than the one at the top of those towers he used to stack.

They’ve boiled their process down to its essentials, and No Cities to Love crams genius lyrics and hook after inescapable hook into just 10 tracks and 33 minutes.

Punisher is a dazzling record, one filled with sadness but not overwhelmingly so, full of moments that sting the first time you hear them but burrow deeper into the soul with each listen.

The Land Is Inhospitable and So Are We finds Mitski at her most peaceful, hopeful, and, yes, loving.

Paradise Lost have found an almost ideal balance between grit, atmosphere and songcraft. What Obsidian lacks in lyrical subtlety or song variety, it makes up for with sonic depth and sheer catchiness. ... Paradise Lost float above the fray, synthesizing aggression and accessibility in every song. It’s hardly a new trick for these Brits, but that they’ve made it par for the course makes their career all the more remarkable.