Even more than any music that came before it, this album highlights Rosali's unique voice, one that communicates full-hearted intensity without ever resorting to heavy-handedness or overstatement.

Whether it's the caressing connectedness of "Evening Mood" or the air of pensive devotion on "Who Brings Me," this emotional immediacy makes Something in the Room She Moves an exciting and affecting addition to Holter's body of work.

On Real Power, Gossip don't try too hard to recapture the past or fit in with the sound of the sound of the 2020s, and that's what makes it a dignified, down-to-earth return.

Skip the dogs, stick to the weird, raw, and experimental songs and Glasgow Eyes might be considered one of the band's best albums in a very long time. Add them back and it makes for a frustrating and exhilarating listening experience that's brutally honest, completely ridiculous, and in some ways it sums up everything good and bad about the Jesus and Mary Chain all on one slab of plastic.

When the final piano twinkles of the heartbreaking ballad "Última" close the first half, the album shifts to mixtape mode with the flood of additional hits that pack the back end, making Las Mujeres Ya No Lloran a great two-for-one set that is essentially a short new album and a de facto "Greatest Hits 2022-2024."

For a band that often got lost in a hippie haze, this all-business approach pays off great dividends: it's easy to hear how the Robinsons are ideal collaborators, tempering each other's excesses and accentuating their shared love for the best of classic rock.

Some of the tracks on Three cover similar territory, but overall, the album is much more tightly focused than the abstract yet personal Sixteen Oceans.

Akoma represents another impressive step in Jlin's remarkable evolution as an artist.

Tigers Blood is the rarest of things: an album that feels familiar upon its surface and idiosyncratic in its details.

Bright Future is the type of no-filter album with enough variety and poignancy that each song is bound to be somebody's favorite.

Like the open-ended, amorphous production, the tunes all accentuate the record's general thrust of interior contentment. Musgraves, along with her regular collaborators Daniel Tashian and Ian Fitchuk, do manage to capture and sustain this delicate sensibility, creating a record that's every bit as pretty and memorable as gentle afternoon rain.

ScHoolboy Q flexes just how easy his craft is for him throughout Blue Lips, switching his styles without blinking while telling some of his most difficult truths.

Girl Friends isn't a great Dion album, but it's certainly a good one, and worth a spin for anyone who digs the Pride of the Bronx. He's still got it, and you can hear it on Girl Friends.

Some focus and editing would have really helped because there's a great album buried somewhere in here.

This is a return to the epic 12-minute suites of releases like Truant and Rival Dealer, flashing back to some of the same samples and themes. Second side "Boy Sent from Above" is the more soul-searching of the two, with lonely vocals calling out from the fog of vinyl crackle and spray can shaking.

Letter to Yu's thoughtful sincerity seems far removed from the biting sarcasm of Pupul's acclaimed work with Charlotte Adigéry, but it's just as emotionally potent and artistically creative.

While at this point there's some unavoidable self-awareness to their craft, it does nothing to take away from the exhilarating fun and lawless excitement of the album.

Here everything feels like a copy of something that had already been done better by another band. In the end, there's little to no reason to pull this record out instead of Siamese Dream or Nothing's Shocking. Or the other three Meatbodies albums, which have all the oddball thrills and unique perspective Flora Ocean Tiger Bloom seems to have lost along the bumpy journey to completion.

Eternal Sunshine is Grande in peak form, a magical maturation that is elevated, resilient, and confidently restrained.

The ever-shifting tone of Speak to Me asks the listener to keep up with the Lage's quirks and mood swings, but the sum of its parts is quite dazzling.

While Dabice and Mannequin Pussy might be worried that their destructive Dark Phoenix energy is too much to take, I Got Heaven is an album of apocalyptic rock & roll bliss.

Though she's never been a hesitant or unfocused artist, listening to Gordon come into her own on The Collective is a wonder, especially because she's not remaking herself to stay relevant -- it's the rest of the music and pop culture world finally catching up to her.

Bleachers occasionally borders on indulgent, but its tangents and loose ends are part and parcel of Antonoff's process -- and part of what makes it such a complete self-portrait.

Her concentration on an especially brutal historical subject makes it one of her most bracing works, and it becomes more compelling and powerful with increased intention and awareness.

Visions is clear and light, its textures vividly articulated and its rhythms mellow and fluid. It's music that feels alive, inhaling and exhaling with a gentle insistence; it's never rushed, never clipped.

There's no denying the sensibilities of Liam Gallagher & John Squire lie in 20th century guitar rock, but there's a freshness in how the duo's sensibilities intertwine that gives the record a warm, welcoming pulse.

A revelatory experience that's somehow been hidden within her all these years, Girl with No Face is a bold reclamation of artistic self from a thrilling pop auteur.

Yeat's creative drive is admirable, but unfortunately 2093 just doesn't live up to its lofty concept.