While Her Loss houses no immediate street bangers or Billboard hits, it's the sum of it all that makes it Drake's best record this decade. From the comical fake promos during its rollout to the memorable one-liners and aggressive diss verses or the TikTok memes it will generate for months to come, Her Loss has a lot of meat on its bones.

Much like 2017's Ti Amo, Alpha Zulu has a romantic warmth that transcends lyrics, which evade interpretation, often melting into the melody but occasionally snagging the ear with a beautiful turn of phrase.

Changes isn't the most complex album King Gizzard & the Lizard Wizard have ever made, but it's been gestating in the backs of the member's minds for years, and feels oddly representative of everything they do well. Whether you're a true Gizz-head or just dipping your toes into their psychedelic swamp for the first time, it's worth a listen.

Waiting Game is a smooth and smart shift for an outfit that was doing just fine prior but could stand to switch it up. Whether soft reset or brief respite, it's definitely Junior Boys' most tasteful and interesting album.

Midnights is a slow-burning journey through the labyrinth of Swift's history, groping around in the dim light for the way forward. Sometimes, in the hush of nightfall, catharsis comes quietly.

The Car is a beautiful calling card for this opulent new version of Arctic Monkeys, even if it lacks the immediacy the band built its reputation on.

The band have lost none of the piss and vinegar that's marked every stylistic diversion that came before. They're just taking those component parts to build one barnstorming monster of a record.

Where the drums of Joli Mai were, more often than not, ready to roll one over at any given point, Cherry blossoms as a listen worth savouring as Daphni's melodious detail leads the dance.

The whole fun of a new RHCP album is hearing the ways they grapple with their legacy and push the boundaries of their sound. In that sense, Dream Canteen offers just the right amount of old and new.

The talents of Crutchfield and Williamson cannot be underplayed, nor their deft ability to convey and intuit emotion.

Wild Pink's song structures, instrumentation, arrangements and sound design are their most inspired yet, and Ross's steady, calming presence is almost like a spiritual guide. Altogether, ILYSM is reliably enjoyable but just shy of transcendent.

Its Alvvays least penetrable, most challenging album yet — but one that still preserves the band's best qualities, sounding chaotic and painstaking at the same time.

WILLOW's pointed vision and eagerness to push the envelope allowed her and Greatti to construct songs that consistently take unexpected turns yet culminate in her most cohesive project to date.

Overall, hardcore R&B fans will appreciate age/sex/location most, but this is an album made for cuffing season and should probably be listened to by lovesick single people still figuring it out.

There's rebirth in the swirl of destruction, but these days the Yeah Yeah Yeahs seem more interested in the stories that start after the cataclysm, where purple fireweed bursts from scorched hillsides and glass shards are rounded by the tides.

The songs on this album aren't going to be overshadowing the classics that the band built their name on, but they'll sit nicely alongside them, and The End, So Far is a worthy addition to Slipknot's raucous arsenal.

The Hum Goes on Forever finds the Wonder Years doing what they do best and doing it a bit better each time, all while raising the emotional stakes to make each record feel newly important.

On Hyper-Dimensional Expansion Beam, The Comet Is Coming continue their exploration of the wide wonders around us — the unknown, physical and metaphysical, light and darkness, life and death, and the connectedness and spirit laced between it all; broadening the scope, testing ideas and seeking freedom and rapture through rhythm and sound.

It works wonderfully camping on a relaxed beach or in the most ostentatious concert venue, worthy of rigorous intellectual inspection yet just as easy to get high and chill to. ... It gives something wholly original to the culture in a way similar to what Will 'Quantic' Holland did when he launched the Quantic Soul Orchestra in 2003.

Alex G is a genius at crafting intimately familiar feelings while injecting off-kilter miscues that satisfy the oddball compulsions living in our heads. The level of restraint routinely becomes unbalanced in an instant, yet the results are more reassuring than anxiety-inducing.

Although it lacks any true standout tracks, it makes up for it with Watson's most adventurous production to date and a clear desire to walk on new paths, which bodes well for any future releases.

They've managed to create an album that feels fresh while also being the closest they've come to recreating the magic of earlier records. This is a band that has finally found a way to evolve without eliminating what it was that made them so special in the first place.

Keery could have gone back to the alt-rock psychedelia that already earned him plaudits; instead, he took a risk and made DECIDE — a funky, sometimes goofy sci-fi odyssey with tons of twists both sonic and emotional.

Portions of SPARK may be too slick for its own good, as basic lovelorn lyrics that fill songs like "BACK THEN" ("Blue skies don't feel so wrong / Those times have come and gone") and the back end's more drippy melodies ("HEART WILL BEAT") go down a bit too easily. But on SPARK, Whitney prove themselves to be in the indie rock game for the long run, even if they've outgrown the type of indie rock that birthed them.

Even for all the newfound sheen, there's nothing on this new self-titled album that necessarily feels out of step with what's come before. ... Anchoring the songs to drum and bass grooves and keyboard loops gives Bixler-Zavala more space to flex his voice; once little more than a high-pitched rebel yell, it's now capable of delivering a rainbow of emotions.

Despite some bumps, Hold the Girl is full of passion and reflection, uninterested in holding back and unafraid to revel in the power of vulnerability and self-love.

Dying field or not, the Beths' third LP is a reaffirmation that the band are ready and willing to go down with the ship.

Someday Is Today pairs fragmented, stream-of-consciousness lyrics with soundscapes that flow and grow at their own pace, balancing the post-rock proclivities of Do Make Say Think with the lazy drum machines and synthesizers of Beach House (especially on the opening track, "Hold Me In Your Mind").