The album is also a testament to Rostam and Georgia’s connection: Their musical chemistry is so rich that, on Georgia’s first collaborative album, she sounds more like herself than ever before. As she stitches her own euphoria together, one thread stands out the strongest: other people.

The risk they took with their complete metamorphosis paid off, further solidifying them as a band with talent that transcends genres and states.

The songs on The Ballad of Darren are measured and contained. In fact, the calm gravitas which pervades the record occasionally plods. Perhaps it’s a meta-commentary on the album’s subject matter, or, perhaps, it’s just hard to make new music for 30 years straight. Yet, there is a relief that is interspersed amid the LP’s gloom that arrives on more high-spirited, familiar tracks that are reminiscent of the group at their spiky-haired zenith.

Soundtracks are often merely time capsules of their era, and Barbie The Album captures the bounce, bravado and occasional bad moods of 2023 in technicolor.

Each track is visceral and transportive, which is no small feat.

On Little Songs, Wall proves he’s ready to grab that torch and run.

It’s a tense endeavor wading into unknown territory, nevertheless projecting raw confidence. It shows us a band that isn’t afraid to push themselves. And, a decade in, that’s no small feat.

The considerable power of The Greater Wings lies in how Byrne makes that specific feeling universal, and how resonant it becomes in the artfully woven tapestry of her music.

The social commentary feels sharper here, but otherwise, not much has changed in the last three years; Good Living Is Coming For You delivers more of what made Hunger for a Way Out an aesthetic standout and word-of-mouth underground hit.

Buoyant, entertaining and lively.

The scaffolding of ANOHNI’s voice across these 10 tracks is remarkable, and the way she excavates a deep, unrelenting love within them through accessible and awing prose is magnetic, thoughtful and intricate. From a lyrical place, My Back Was A Bridge For You To Cross enacts an exotic balance that is so rarely seen in contemporary music.

The songs on I’ve Got Me start simply, then bloom into playful complexity.

The literate lyrics, his expressive voice, his knack for hummable melodies—suggest that he has fully arrived at the next phase of a career that continues to deliver songs worth hearing.

Like the best moments on any Neutral Milk Hotel album—or, frankly, any emo album worth a damn—the whaler excels when it feels like Home Is Where are at its slipperiest as a band, conjuring something capable of breaking beyond a simple genre signifier.

Life Under the Gun is an absurdly strong debut, jumping between anchoring drum beats, jangly guitars and explosive choruses with ease. After playing straight hardcore, directing music videos and a plethora of other creative outlets, Shelton sounds firmly at home in Militarie Gun.

Eight isn’t a groundbreaking album—and it may lack some of the daring color that defined the band’s early years—but its lyricism is uncomplicated and easy, with thematics that fit well within the group’s regular wheelhouse. It’s sure of itself and proud to be so.

On Let There Be Music, Bonny Doon articulate what joys fall upon us once we’ve seen through the aches of transition. That is the crowning achievement of this record, as it’s much tougher to write into happiness than it is to write out of sorrow. But, what a gift it is to know that Bonny Doon have found a niche in the heart of joyous, blissful faith.

Across 11 tracks, 3D Country is gnarled, chaotic and vibrant. But, what’s potentially the most-shattering truth of all is that, amid all of this charismatic, wholehearted sonic anarchy, Geese have only just begun.

This Is The Kit have found a way to stay true to their style in a way that doesn’t feel forced or boring.

Killer Mike feels these songs deeply and it shows, but different approaches here from producers, including No I.D., Cool & Dre and others, means the hooks aren’t always strong enough to keep listeners coming back.

ÁTTA is a welcome return to form and beyond for the band, ten years removed from their last studio release, and their partnership with a 41-piece orchestra is both logical and awe-striking.

Shattering the myth of “sophomore slump syndrome,” feeble little horse possess an uncanny bravery. They forge ahead with a fearlessness that is palpable even when the lyrics are sparse.

It’s also a wonderful first product of Angel Deradoorian and Kate NV’s creative union.

It may not be perfect from start to finish, but Weathervanes again affirms Isbell’s place as an Alabama legend—right there next to Saban.

Mid-record gems and unexpected collaborations make certain songs worth a save, and whoever stands at the intersection of the operatic pop and Americana fandoms is surely rejoicing today. It falters toward the tail end in its own self-seriousness, but Wainwright would be hard-pressed not to create a gorgeous musical landscape wherever he goes.

Bully’s new album, Lucky For You, is her finest work to date. Never before has Bognanno crafted a record so consistently captivating, able to fire on all cylinders even in its quieter moments.

Jackson is communicating her message with precise orchestration for optimal impact. As a listener, you may feel exposed, maybe even singled out.

Romantic Piano is an endless reliquary of devotion, self-kindness and wonder; an impressive, beautiful third act for one of our most-daring and interesting songwriters.