Song after song, Interplay is the sound four people acting on one shared instinct, and it feels like sunshine beaming on skin.

The interplay between Crutchfield and Lenderman’s voices makes the tunes all the more memorable, and his guitar work on tracks like “Evil Spawn” adds a certain bite to Waxahatchee’s sound that helps distinguish the record from its predecessor. It’s such subtle shifts that make Tigers Blood so remarkable.

Everything I Thought It Was feels less like a terrible Justin Timberlake album and more like wasted potential. Man of the Woods was terrible, but at least he took a risk. This one is fine, frictionless, and overwhelmingly safe.

There aren’t any real misses on Deeper Well, and the record feels more like a dreamy mood piece or conversation with a friend than an attempt to round up a collection of chart-ready singles or social media-friendly soundbytes. Musgraves was far more interested in asking the bigger questions — and it doesn’t even seem to matter too much which answers she found. The deep dive was the point.

eternal sunshine is a place for her to process and reflect; she might not be fully in her healing era, but she’s picking herself up and preparing for whatever’s next.

IDLES have been uncompromising with their sonic language. They still seem to make songs the only way they know how: from a place of both liberation and pain. Their album of love songs can only sound like this, because they know that to truly love unconditionally is easier said than done.

Vultures 1 won’t be the worst hip-hop album of the year, but it’s repetitive, redundant, and far too impressed with itself to be enjoyed by anyone but true believers.

For anyone thinking Everybody Can’t Go might soften Benny’s razor blade edges, you can rest at ease. If anything, the album adds more layers to the formula and digs deeper into the man behind the persona.

Wall of Eyes is the sound of a more confident, collaborative The Smile, a version of the band willing to let their ideas ferment, even at the expense of immediacy.

The bright spots in the album are truly dazzling, while some of the b-sides aren’t very memorable in comparison, and for that reason, the album feels quite top-heavy — the first five tracks are clear bangers, but the energy dips through the back half of the record.

Hackney Diamonds might not be an album that’ll stand the test of time à la Exile on Main St. or Sticky Fingers, but they’ve managed to successfully keep the boat afloat for one more album, and that in itself is a mini miracle.

It’s still a relatively safe album, all things considered, but for Blink-182, new ground isn’t necessary.

Though not specifically a jazz project, V has indeed embraced all the hallmarks of the genre: bluesy lyrics, strong rhythms, great instrumentalists, and a spirit of creative freedom.

There’s a world where rerecording Dark Side of the Moon works, but this redux is too misguided, too indulgent, and too up Waters’ behind to take all that seriously.

Javelin is indeed a wondrous meeting of the human and the synthetic, of stripped-down immediacy and lush, impressionistic extravagance.

They let the songs take them where they seemed to want to go, not steering the ship as much as they were content with drifting off to sea. Many (if not most!) of the songs here are perfectly nice, if a little sleepy.

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

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.

Growing older can be sad, but Blur know that light arrives after darkness. Across 10 songs, you can hear them each trying to find it, hand in hand, harmony after harmony.

This record transports listeners through an intensely vivid journey, presenting a different side to PJ Harvey’s creative genius, one that proves profound art cannot be forced.

Here, QOTSA play it pretty safe. That might have been a necessary step to help Homme feel sheltered enough to show off his still-fresh wounds, but, on the whole it keeps the evolution of the band from reaching that next crucial step forward.

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.

While the writing on Weathervanes is carefully crafted and wildly impressive, what sets the record apart in a discography full of tattoo-worthy couplets is the contributions of The 400 Unit. They’ve undoubtedly been an integral part of Isbell’s past few efforts, but the band has never sounded so locked into an album’s singular vision.

It’s a bit of cruel irony that in the face of so much adversity, the band has somehow managed to helm their most creative and compelling album in over 20 years. It may be hard for the band to recognize it, but believe it or not, Foo Fighters are learning to live again.

First Two Pages of Frankenstein is by no means subversive – but it’s worth at least keeping on the bookshelf for whenever you, too, feel lost.

The story he set out to tell ends up linear and cohesive, remarkably so, even for people who don’t speak Korean and experience the album first solely as a sonic journey. ... This collection is a body of work people will turn to for years to come.

There's a level of self-editing and consistency that slots 72 Seasons ahead of St. Anger, Hardwired, and Death Magnetic as, if not the best Metallica album of the 21st century, the best thrash album by Metallica of the 21st century. It's the sound of a band having fun, laying into a ton of riffs and embracing its own legacy as metal masters.

Its six tracks wrap all too quickly, and while it was specified that Jimin doesn’t consider this a full-length project, it does leave the listener craving more music in this vein somewhere down the road — it’s worth repeating that the energy of “Face-off” is one that he should consider chasing most of all.

Rat Saw God is the type of kaleidoscopic album that offers up something new to appreciate with each listen. It’s a record worth hearing, recommending, and obsessing over – Google search results be damned.

While all three women may continue on to even greater heights as individuals, the record offers something so much more than the sum of its parts. It’s a covenant between three soulmates, a trio of best friends ready to carry the torch for a new musical generation.

Ultimately, for another sonically cohesive record, the thread that ties this package together is the exploration of American melancholia. ... This is where she thrives. And, thankfully, this is where Did you know that there’s a tunnel under Ocean Blvd spends most of its time.

They’ve turned themselves into a ravenous rock deity, a masterful songwriter whose every release demands attention. And while the title of the album refers to one who Chews But Does Not Consume, it’s the kind of project that swallows you whole.

The current of honesty that runs through Endless Summer Vacation encourages the listener to press play on the record again, and the stories here get even better on a second or third listen. It’s cohesive without feeling repetitive.

TRUSTFALL is a solid entry in the singer’s now-expansive discography, if one that shows she’s playing it safe.

It’s in her own vocal and musical versatility that Polachek can create a new map to discover, and the results are nothing short of thrilling.

There’s something satisfying about seeing the band creating in their own lane here in 2023 rather than fall into the all too easy trap of trying to recreate who they may have been in the past.

Eight albums in, Gorillaz are still capable of producing a fresh, rich album that spans genres and moods, with so many different textures and sonic fabrics that they have cultivated a musical universe of their own.

Even if there are some places where Queen of Me falls a bit flat, her legacy speaks for itself. The twelve tracks in this album encompass her first full release since 2017, and, if nothing else, it feels wonderful to still have Shania’s distinct voice and genuinely unique perspective in our lives.

On Honey, Samia finds her power in being an open book.

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.

Indigo, which RM describes as “a sun-bleached record faded like old jeans,” feels like a gift to his own creative spirit as much as it does a gift to the listeners.

The biggest lapse on The Family, unfortunately, is that it’s one-sided. We don’t get to hear from the other members about how they feel it all went wrong. We’re not given a collage, just one vivid picture from Abstract’s perspective.

Nas saved the best for last, if this is the trilogy’s end. KDIII is the exclamation point at the end of his career’s most consistently dope stretch. It pays tribute to everything that came before it while whetting the appetite for what’s next.

It’s Redcar’s most challenging album yet, in which he addresses an entity that could be either himself, or a lover; the production still leans heavily into the delicate, baroque synth-pop and irresistible melodies he has become so lauded for, but the emphasis remains on Redcar’s vocal delivery and texturally succulent lyrics.

Her Loss isn’t always a deep album, but that doesn’t make it any less profound. Sometimes excellent rapping over very dope beats mixed with a tinge of introspection goes a long way. Her Loss is our gain.

Midnights is a record best enjoyed as its own work. It’s an undeniably rich listen, the kind of pop music that feels increasingly rewarding with each pass, and it’s an album that reminds us that Swift has countless stories left to tell.

Incredibly tight, flashy and evidently abhorrent in its messaging — we’re all doomed, but at least Lamb of God make it sound good.

The final product is an exercise in meh as he tries blending who he is with who he used to be, along with his more significant commercial responsibilities.

Though there are some intriguing highlights, The Car isn’t anywhere near the evocative heights that Arctic Monkeys have reached throughout their now-storied career — and perhaps that’s the point.

Return of the Dream Canteen is a pretty faithful second helping of Red Hot Chili Peppers as they stand in 2022. ... It’s hard not to wonder what kind of splash the album could have made had it been pared down or if there was more time between the two releases. As it stands now, though, Return of the Dream Canteen still manages to add more than it takes away.

They’ve returned with an album that feels far from the all-encompassing anxiety of their previous records, prioritizing the unity and spirit that all four members feel for each other. ... Sometimes, it’s enough to peel back the layers of old paint and put on a fresh coat. The colors may be a bit jumbled at a first glance, but when you take a step back, they’re vivid, pleasant, magnetic.

An album that has WILLOW well and truly becoming a bonafide rockstar, refusing to be boxed into one singular genre — while seeing how far each one can take her. COPINGMECHANISM is WILLOW’s most personal — and, as may coincidence may have it, hardest — record to date.

As a new release, it’s got more than enough exploratory factors to keep the band from sounding stale, but it also stays true to the sounds that have turned us all into maggots in the first place.

Fossora is filled with Björk’s reliably lush, sensual instrumentation and poetic lyricism, at times playing like a thematic and musical companion to its predecessor. ... Across its delectable slate of richly orchestrated songs, Fossora’s best tracks are also the most personal.

A raging confidence surges throughout Cool It Down, and the music showcases a band who older, wiser, more mature. It’s held together by the strength of Karen O’s lyrics, her signature voice, and the eclectic instrumentation that have made the band so loved. It’s also their most experimental effort yet, full of dramatic soundscapes that see the band push the boundaries of what it really means to be an alternative rock band in 2022.

What Sawayama has successfully captured with Hold the Girl is the healing power of pop music, and the catharsis that can come just as easily with an arena-ready banger as it can with a feral scream.

From start to finish, Patient Number 9 is an inspired and consistent Ozzy studio offering. It certainly appears that team Ozzy has found a producer who gets the best out of the veteran singer and his all-star cast of backing musicians.

Even when Parks tries on different hats, Natural Brown Prom Queen still manages to feel cohesive and genuine. ... Meanwhile, songs like “Ciara” and “Freakalizer” feel like hits ahead of their time.

It’s good that the band feels a responsibility to communicate strong messages of hope and unity to their base of fans and beyond, but it’s naive for them to think that Will of the People’s pseudo-provocative stance is good enough.

Megan is her own best advocate, and Traumazine is a testament to this principle. Elsewhere, Megan displays her penchant for bringing out the best in her collaborators, molding herself to bring out the most recognizable aspects of their style.

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

Surrender is the album that Maggie Rogers needs right now. It’s one that shows how much she’s grown as an artist, how much her voice is capable of, and how she can exercise her ability to transcend in only a few notes.

Entering Heaven Alive, along with Fear Of The Dawn, stands as a shining reminder of what White can accomplish when you hand him a guitar. ... Entering Heaven Alive now reminds us of his range, his playfulness, and his deep understanding of the music that inspires him.

Special doesn’t necessarily break new ground for Lizzo or deviate too far from the pop persona presented in Cuz I Love You, but sometimes it’s ok not to mess with a great thing. Amid the undeniably catchy pop are moments of vulnerability that populated her previous efforts as well.

There’s an excellent three track run from “What if…,” an energetic song that samples Ol’ Dirty Bastard’s “Shimmy Shimmy Ya,” into mid-tempo standout “Safety Zone” before a touch of Hope World familiarity returns in the optimistic “Future.”

Love, Damini delivers like an 80-pound baby. The Afrobeats album gets into the soul with Burna’s typical flair, but the insights are deeper.

Through it all is a patient sense of comfort and understanding, retaining the playfulness of their previous efforts, the seriousness of being a rock musician in the 2020s, and the approachable air that ties it all together.

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.

Honestly, Nevermind isn’t a bad album, but it is disappointing.

For fans who were sucked in during the time of “Dynamite” or “Butter” and haven’t dug into their back catalogue just yet, they might be surprised to discover just how broad of a range these songs can stretch. ... Disc 3 is a whole different kind of time capsule: there are 11 unreleased demos, two brand new tracks (“Quotation Mark” and “For Youth”), and one previously-shelved track (“Young Love”) that peel back the curtain on BTS as artists like never before.

Twelve Carat Toothache feel thrown together and incomplete. Post Malone did himself a favor by limiting the run time of the LP, but if he’s championing quality over quantity, the quality has to be more incisive, specific, vulnerable, and holistic.

Big Time might be the most direct view into Olsen — at least in the context of a full band. It’s a masterful, emotional body of work ready to fit any mood, and it’s yet another successful sea change for one of indie music’s most consistent artists.

While fans will justifiably find a lot to love, anyone holding their breath for a shift into experimentalism is going to have to go without oxygen until LP4.

Though the music of Face The Wall can be relatively straightforward indie rock, her enchanting voice is what really separates her from the pack. ... Face The Wall is a remarkably assured statement from a 21-year-old artist.

Harry’s House was constructed board by board, and, ultimately, it’s a lovely place to spend time in. Styles is making the music he wants to make.

Mr. Morale & the Big Steppers is another bonafide masterpiece.

Ultimately, Every Shade of Blue is an easy, accessible listen, and many of its tracks are certainly radio-friendly. There are pleasant pop hooks and a few earworms here and there.

A Light for Attracting Attention revels not in fiery protests, but in the layered, mid-tempo meditations Radiohead’s been crafting since OK Computer.

An explosive expression of unity in the face of strife and an exuberant expression of hope. ... But beneath the pomp and circumstance, Welch is traditionally known for, Dance Fever is a deeper look at a woman who unapologetically bares it all.

No Fear of Time is nine great songs filled with incredible rapping. The album is a logical follow-up to Black Star’s first album and shows some things are worth the wait. The game has changed a lot from ’98 to now; however, Kweli and Bey still stand alone because, like they did way back when, they refuse to compromise themselves or their time for anyone or anything.

Side B is the more adventurous half of the album, pushing Bad Bunny’s sound into new places with collaborations with alternative acts. ... With the sun-kissed Un Verano Sin Ti, Bad Bunny continues to proudly give pop music some much-needed flavor, swagger, and sounds by way of the Caribbean.

We’ve Been… is unmistakably the sound of an artist in their prime, hitting at all the conceptual points that they set out to reflect while remaining true to their strengths. ... We’ve Been… is certainly her strongest, boldest experiment as a songwriter yet.

It’s the sound of a band digging deep, sharing the lessons they’ve learned, and channeling their experiences into something bigger than all its members combined. Even if it’s slightly lopsided and occasionally heavy-handed, this album undoubtedly proves that Arcade Fire have a lot of gas in the tank, and they’ll do whatever it takes to… (I’m sorry) keep the car running.

The actual flow of the record may feel a bit all over the place, but that’s kind of the point. Rammstein thoroughly enjoy keeping their fans on their toes, if not attempting to purposefully irritate them even slightly.

Like a lot of the bands that inspired it, Omnium Gatherum is expansive, assorted, and at least a little self-indulgent, but that’s precisely what makes it brilliant.

Push is in complete control of his flow, his delivery, and his pen game is sharper than it was 20 years ago. ... It's Almost Dry is the perfect complement to Dayonta, creating Pusha's very own gangster saga on wax.

Wet Leg is by all means a daring debut for the duo, demonstrating that the success of “Chaise Longue” was not at all an accident.

White briskly blows through each idea and wraps up the album in a tight 40 minutes.

The eleven tracks often sound like mini film scores, featuring arrangements by Drew Erickson and plenty of strings, brass and woodwinds. Tillman still deals in clever, allusive vignettes, but the tone is ultimately gentler this time around, hazier and less incisive than God’s or 2017’s Trump-era Pure Comedy.

Throughout Unlimited Love, you can still hear their enthusiasm breathing life into these tracks: when Flea, Frusciante, and Smith really lock in on a groove, they’re indestructible.

The most fun PUP have ever sounded. ... For a band who claim to be “too old for teen angst, too young to be washed,” PUP have successfully found that balance.

Dream Widow could’ve easily been a charming but disposable bit of marketing for Studio 666, or a throwaway pastiche of several legendary death and thrash metal groups. Fortunately, it transcends both of those possibilities to be a genuinely great record. The musicianship is expectedly superb, but what’s most commendable is Grohl’s ability to shift his voice from familiar grittiness to full guttural hegemony.

Nothing is off limits, and it makes Diaspora Problems a delight to listen to. There’s not a lot of repetition, and for as immediate and spontaneous as the recordings are, every musical element and lyric comes off as hand-crafted and deliberate: all killer, no filler.

Spring really is more interesting than a one-off single yet not so great that it begs for the full-LP treatment. The little-loved EP format, with its equal space for consistency and experimentation, suits this incarnation of Weezer just fine.

A stunning listening experience, even for longtime fans of Rosalía.

The songs on Crash may be about self-destruction and sabotage, but the intoxicating brightness and power of them suggests that her journey of self-discovery deserves to be a celebration rather than a cautionary tale.

Overall, IMPERA keeps Ghost’s winning streak going and proves once again that Mr. Forge surely knows what he’s doing as the group’s leader.

There’s nothing wasted on GHETTO GODS, as every move purposefully builds to a crescendo. Even the skits, which can easily be a distraction on any album — especially one with 17 tracks — have a reason for existing.