Styles is a more confident and precise songwriter on Fine Line than on his debut, even if the progress is incremental rather than exponential.

Colorado is pretty good. The fact that Young made it at this stage of his career is even better.

Everyday Life mixes the magic of “old” Coldplay with their smash hits that have kept them at the top for so long. And it works.

Romance is a solid, sexually charged sophomore entry that places growth at center-stage and keeps us wanting more without going limp.

Corgan delivers some of the lightest, most affecting songs he’s made in years. Unfortunately, comfort also breeds indulgence, which leaves Cotillions’ 37 excellent minutes of music rattling around within an unearned 61-minute runtime that winds up walking the record in circles.

This album may not represent one of The Who’s strongest collections of songs, but it’s the rare case study of a legacy brand as a vehicle for plumbing new ideas and moving forward.

The Capitol Studio Sessions could have very easily been a one-off vanity project, but with I Shouldn’t Be Telling You This, Goldblum once again proves that the Mildred Snitzer Orchestra is one more way he can charm us all.

Each of the nine songs and poems that comprise Thanks for the Dance is a self-contained, coherent piece of art that perfectly fits in the Cohen canon, making it a worthwhile listening experience and a poignant farewell from one of music’s greatest and most eloquent writers.

Although Hyperspace can be dull at certain moments, Beck has discovered a new songwriting style that’s conducive to his adventurous tendencies.

What Hot Pink lacks in layers of ridiculousness expected from a Doja Cat album, it makes up for in its versatility. ... There’s no question that she’s in control throughout the record, even as the format reveals some weaknesses.

The lyrical reference points are no less poignant for their obvious subjects; occasionally the poetry drops out altogether, most notably when Elverum reverts to his now-traditional laments about the Internet, commercial media, and technology at large.

Gang Starr’s first album in 16 years affords us an opportunity to luxuriate in the thousand-watt magnetism of Guru, who even at his shabbiest is contagiously zen. Every so often he flubs a line or falls off the beat, but Guru is never not in complete control of his instrument. ... Brace yourself for tonal whiplash; Premier is a tease of the worst kind.

The band return with a record worthy of their already legendary canon of genre-defining works. Mayhem treat each song as an evil spectacle, pushing it to its most absurd and dissonant limits. There’s no respite here, and it’s one of Mayhem’s best albums because of it.

From Out of Nowhere isn’t going to be turning heads in 2019 with its lackluster production and, at times, generic lyricism. But it does remind us that Jeff Lynne is one of pop music’s greatest hook writers, and that skill isn’t easily forgotten.

Some Rap Songs was a few hairs more rewarding in this mode, but Earl Sweatshirt’s cemented a signature mood and production style unlike anyone else’s, and since he’s growing more thoughtful every year, there’s good reason to believe he’ll perfect it. Unfortunately, it also seems that every year he’s growing more depressed as well.

While longtime Dylan students will discover much to enjoy and ponder on Travelin’ Thru, casual observers should have no trouble resisting these abandoned experiments. Still, it’s enticing extra-credit listening for those who care.

The sound of a collaboration remains a refreshing and wonderful thing. In fact, perhaps the best way to describe the material included on Vols. 11 & 12 would be to borrow the title of a long-running magazine devoted to Led Zeppelin: “tight but loose.”

While concise in length, MAGDALENE paces FKA twigs through the unguarding of her traumas, ceremoniously giving way for her next act.

Jesus Is King is impersonal, repetitive, boring, and somehow too long at just 27 minutes. Some albums grow deeper with subsequent listens; Jesus Is King shrinks.

While effective on its own, the LP offers an even more intriguing journey when played as a continuation to the band’s previous album. That said, each of the four tracks offers meditative instrumentation, allowing listeners to soak in the atmospheric vibes that make up Pyroclasts.

Seeker is an exciting and treasurable return for Cronin, as the four-year hiatus since MCIII has resulted in some of the best songwriting and musicianship of his solo career. Sure, some of it blends together after a while, but every piece of the puzzle earns its place as well.

Musically, the band sounds as tight as ever, matching Lyxzén’s dynamic vocals with monstrous riffs and rhythm all through War Music. ... With War Music, Refused have delivered a rousing call to arms, and perhaps a call to their punk-rock peers to join the fight.

No Home Record roils with just the kind of catharsis we need in Bad Timeline America. Play it loud, play it often, play it again.

While other artists struggle to translate personal development into their music, Brown does it with ease, navigating growth in a way that’s not only deeply personal but also extremely honest.

From the creative songwriting to the engaging performances, Metal Galaxy is certainly out of this world. With its awesome blend of musical styles, all infused with some form of metal aggression, this record is BABYMETAL at their most adventurous.

Capping one of the strongest years a rock band has had in a while, this stands as a crowning achievement, the perfect record to close out a tumultuous decade and lead into one where the damage may be irreversible. Two Hands asks what responsibility each of us have going into the next era, offering no clear answers.

The biblical book of Hebrews says, “Faith is the assurance of things hoped for, the conviction of things not seen.” Never has an album expressed this idea clearer than Ghosteen.

It’s the next sonic chapter in Chromatics’ dramatic novel. With incredible growling synths and Johnny Jewel’s undeniably fantastic, experimental production elements, Closer to Grey is the unexpected sonic growth spurt we didn’t see coming from Chromatics.

Ode to Joy reminds us of how good the band can be with the benefit of time and deliberation.

All Mirrors is a successful example of how being bold and staying true to yourself pays off. Undeniably, this is Olsen’s most cohesive, self-aware, and searing album to date, and the era of Olsen is far from finished.

He’s just topped off his winning streak with the most predictable rap album you’ll hear in 2019 that isn’t actually bad in any way. And like everything else about his rise, that’s way too soon.

As an album, it’s effective and objectively good, but somewhat slight in comparison to their previous iterations. That being said, their sincere, youthful reverie combined with well-honed production and arrangement skills that could have only come with age makes for a truly sweet and satisfying addition to the Quin sisters’ catalog.

Opeth’s chemistry feels as tight as it is playful, heartfelt as it is engaging, as they explore a plethora of intriguing and majestic sounds. The instrumentation and vocals, in both versions, serve to present emotion and instrumental wonder. In Cauda Venenum is among Opeth’s strongest albums when it comes to the band’s progressive sensibilities.

With Jaime, Howard proves what many of us already speculated: The magic behind Alabama Shakes was Brittany Howard.

While one could argue Lord-Alge’s mix brought the band their first Billboard Hot 100 hit in “I’ll Be You”, time has proven that hit didn’t really bring them any long-term success. By scaling back then, Wallace has created an album that truly fits with their narrative, and that’s probably worth more now than then. After all, time has been very kind to The Replacements, who continue to build upon their legacy with each passing year, and Dead Man’s Pop is a welcome addition.

Though House of Sugar can be a difficult record, those who take the time to delve into its layers will be treated to a piece that captures the modern psyche in a way few other pieces of art manage to do.

Some reunions suck; others are a relief simply because they’re not embarrassing. Vivian Girls have defied the odds by reuniting for their best album yet.

Blink-182’s second album with Matt Skiba is ultimately subpar, weighed down by stereotypical lyrics and cloying choruses. Producers John Feldmann and Tim Pagnotta’s heavy use of compression makes NINE as in-your-face as possible, not giving the songs the necessary breathing room to develop without overproduction.

Gallagher embraces acceptance on a deeper level with this album than we’ve seen before; he’s game for going all in on “Now That I’ve Found You”, but he also displays the power of reflection on “Once” and “Alright Now”.

The good news is that her songwriting is stronger than ever. Along with co-executive producer A.G. Cook, Charli XCX has put together a delightful album of high-end pop confections. Charli packs in plenty of wow and proves to be more than worth the wait.

A collection of mostly good — a few forgettable and a clutch of very good — songs you have no reason to know. But the last couple albums were reminders not to take your faves for granted, and if they continue on this path, they might even win over some Pixies fans.

There are incredibly emotional moments throughout the record, really driving the anger and sadness of the music. Some songs lack depth and don’t land as well as others, but, overall, The Nothing remains an emotionally potent experience that longtime fans of Korn will enjoy.

The finish is messy, the mixing hops from decade to decade, and the album flow is nonexistent. There are a couple of great moments, especially “Rubberband”. But without those finer touches, it often doesn’t even sound like Miles Davis, just some dude blowing a horn.

It will be a surprise to learn which tracks aren’t singles yet; there’s at least five more hits to be spawned from this thing, and we’ll never hear the end of it.

The music carries the listener throughout each track, making for a meditative experience. With Birth of Violence, Chelsea Wolfe offers a compelling work brimming with emotion and dreamy wonder.

Each voice is allowed to shine here, and through them, the voices of so many women who continually find themselves stifled in the country music format.

It’s a late-career entry that can’t hold up to his priceless back catalog, but it’s also the work of a guy who at this point really couldn’t give a shit what people think. You’ll enjoy some tracks and soldier through others. But Iggy’s still here, and maybe that’s the most important takeaway of all.

Offering sanctuary to anyone with a soul full of longing, At the Party with My Brown Friends is a beautiful affirmation of our common needs and a reminder that love is possible.

Norman Fucking Rockwell! proves (again) Del Rey as a fully-realized artist who has remained true to her obsessions — aesthetic, cultural, and personal — outlasting the misogynist criticisms that could have derailed her early career. Del Rey delivers a gaze that swivels internally and externally, that can simultaneously observe our national existential dread and her own sudden hope for a “Hallmark” love.

Ehrlich and Kakacek are perfectly in tune with each other, evoking ache and yearning on every note. If the record is not as immediately grabbing as Light Upon the Lake, it’s because it’s a slow burn, driven by a deep desire that blooms into a heart-wrenching splendor.

Fear Inoculum lives up to its daunting expectations with songs that showcase Tool in peak performance as musicians and compositional arrangers. For the diehard fan, there’s a lot to consume here. Likewise, the album offers little respite for the uninitiated; its accessibility comes in the form of its vastness and eerie psychedelia, not through hooks or common pop structures. This is deep prog-rock as only Tool can create it.

While Farrar’s restlessness seems authentic, he sometimes gives the impression of someone who’s lost track of himself, barking truths so obvious that they fall flat when said aloud. Still, Spirit World rewards repeat listens, a dense full-length on which a band with an ever-shifting identity finds a firm foothold, at least for now.

Twelve Nudes makes all the moves some of us have wanted from Furman: faster, brisker music, clearer politics, bigger riffs, and impossible-to-ignore shouting. It feels a couple highlights short of a punk classic, but it’s the follow-up that last year’s excellent Transangelic Exodus probably deserves.

Since GINGER contains more fresh ideas than almost every great rap album of 2019 combined, once again it’s hard to pin down why it feels like such a relief when it finally ends, why traditional technicians like Dababy and Megan Thee Stallion and their fellow hype-turning-institution, Cardi B feel like they deliver more satisfying fulfillment of what they promise.

The maturation through Taylor Swift’s career has also shown her react to personal change in real time. ... Maturity for Taylor Swift means shrugging off what isn’t worth a fight, looking inward rather than blaming others, and being able to admit when you were wrong.

While the album may be directly compared to 2017’s Murder of the Universe, it’s arguably the most straightforward material they’ve written in some time. And while it feels like a minor misstep in comparison to much of their catalog, it finds the band crafting forceful and ferocious, mosh pit-friendly rippers that are politically and socially relevant.

The record and its seamless transitions from one heavily enticing, tender, and softly delivered track to the next paints a captivating and enthralling self-portrait.

So Much Fun succeeds in its quest to highlight the success of Young Thug; almost all of the 19 tracks could stand alone as a strong demonstration of what Thug does best, but they also work together to create a cohesive project.

A Distant Call finds Sheer Mag growing in terms of their palette, thundering with confidence in their ability as musicians as well as their beliefs. Luckily, they don’t linger too much in the details of the overarching story line, treating the narrative as a vehicle for the songs rather than the other way around.

Atonement is an emotionally compelling record that explores concepts of finding strength in one’s being. Between the raw intensity of the instrumentation and vocals, as well as the inspirational elements throughout each song, Killswitch Engage offer a very solid addition to their discography.

Not every experiment on This Is Not a Safe Place succeeds, but that’s okay; failures still signify work in progress, and we can all agree that a world in which Ride’s at work is always preferable to the alternative.

Face Stabber stands as arguably Oh Sees’ most mature and nuanced work to date, and as evidenced by this album, the band is riding a steep, upward trajectory that has continued for an astonishing period of time.

The singles have zing, the pacing is superb, and the back half is just as fun as the front. With i,i, you feel the whole last decade: the exploration, the lessons learned. i,i is a mature masterpiece and a stunning marriage of ambition and technique.

Part of the fun of listening to How Do You Love? is following the narrative that unfolds throughout, as so much of the album’s smartness lies within the precise evolution that occurs from one track to the other. Unfortunately, though, it is impossible to alert the world that the album is perhaps best listened to in order the first time around.

At 20, Clairo is already such a fully-formed artist that it’s nothing short of thrilling to envision where she’ll go from here. Immunity highlights her vulnerabilities while showcasing the full range of her formidable strength as a producer and songwriter.

With their latest studio album, Slipknot have released one of the strongest albums in their career. When it comes to We Are Not Your Kind, Slipknot live up to the title.

If Cole’s greater purpose was boosting the career of his prodigies, he succeeded. Revenge of the Dreamers III points out the obvious: the complete takeover of DaBaby, the undeniable powerhouse that is J.I.D., and the melodious and irresistibly genuine Ari Lennox.

Volbeat have produced another fun and eclectic album with a plethora of potential hit singles. They don’t stray far from their established formula, but do push the limits enough to keep things interesting.

The snarling enfant terrible with a go-it-alone attitude is now a mentally and emotionally grounded 29-year-old capable of cherishing his loved one. Without question, Brandon Banks is among the best and biggest-hearted rap albums of the summer.

Where earlier efforts such as Hallowed Ground saw the band command sparse irreverence, Hotel Last Resort, much like We Can Do Anything, won’t generate much excitement.

First Taste is scatterbrained and self-indulgent, no doubt. But that’s also what makes it such heady fun. Segall once again makes the various ideas and sounds floating about in his head something worth listening to.

There’s an abyss between the kid on Acid Rap and the man on The Big Day. And while you can’t blame a man for growing up and aging out of those topics, you can blame him for not being able to communicate in a way that still resonates with his fans.

Heaven Is Humming successfully builds on the foundation laid by Goon’s first two EPs, 2016’s Dusk of Punk and 2017’s Happy Omen. It’s a solid debut that finds the band stretching in a few different directions while remaining conservative.

From the chaotic opening to the cathartic ending, Krlic’s score works wonders, while engrossing enough to stand on its own outside of the film as well.

It’s as good a rock record as The Black Keys have in them in 2019, and odds are that will satisfy most fans.

Dudu is a welcome gesture of support from kindred souls. Consumed in moderate doses, it raises the spirits.

The result, if you are willing to engage and get just as vulnerable, is unforgettable. For those who are feeling lost and needing to really listen, Salt will speak loud, and McMahon’s music will remain a steadfast and spectral companion for a very long time.

Individually, almost every song is interesting. But altogether, the listening experience is a choppy mess. Out-of-context cartoon voiceovers and pan-African pop music don’t sit well together. And while some of the long-form ideas partially work, they could have used more fleshing out.

On this record, he’s taking a stab at, well, every genre. It doesn’t pay off, though, because this effort results in a sense of emptiness, an abyss of authenticity or real feeling. And that’s the problem: Despite writing “emotional” ballads for a huge part of his career, none of us really have any idea who Ed Sheeran is.

Torche may be missing the potency of their earliest work, but the widening palette of influences on their newer material gesture that there are more great songs to come. Admission isn’t their greatest album, but its new ideas are more than worth the price of entry.

David Berman is one of our greatest living songwriters and he’s returned in beautiful, melancholic form as Purple Mountains to speak to the lifelong nihilistic depressive in all of us.

From beginning to end, Bandana is a perfectly-paced album. Madlib never lingers on a single musical idea as he chops samples and switches beats, often midway through songs. Meanwhile, Gibbs, an expert in flows and rhythms, glues each song together with his undaunted, straightforward performances, which offer an illusion of effortlessness.

It’s easily Yorke’s best solo outing and rates among his finest albums from any project this century.

No matter who is in the lineup or what other activity Willis and Warren are up to, Big Business deliver exactly what you ordered time and time again. And that consistency is precisely what makes The Beast You Are such a thrill to listen to and carries with it a small pocket of disappointment.

First-timers are welcome, of course; as with nearly every record Mulcahy’s made in over the last three decades, The Gus is inviting, infectious, and peppered with just enough enigmas to warrant another spin.

There is a sort of pure, youthful exuberance to what black midi are making, but their experimentation also carries with it a sense of mission.

7 is musical Chex Mix — lightweight and best consumed in selective increments, but also strangely addictive.

The industrial and atmospheric elements of the album all convey a sense of searching and often of rushing away from one thing and toward another. Even the blurred cover image of Hatchie suggests a feeling of constantly being in motion. It is through this searching and continual movement that Hatchie etches her own lines to define her persona through her music, constantly propelling herself and her ideas in new directions and trusting that we’ll keep up.

There’s nothing new under the sun or on this record, but when the riffs are crisp and the harmonies tight, that’s a complaint that’s at least a couple of spots down the list. The Raconteurs won’t save rock and roll, but they’ll certainly help us pass the time until we find whoever will.

Madonna has created this music for an audience of one: Herself. Often it works. Sometimes it doesn’t.

Titus Andronicus didn’t need to further prove themselves with this album, but they did anyway.

There’s no denying Future’s ability to constantly curate content, but perhaps with a little more time and focus, Save Me could have been significantly better.

A self-assured sound married to self-analytical songwriting makes Jinx the masterful soundtrack to those seemingly endless, restless nights. If only my anxious thoughts were as lovely a listen.

Before putting it on, make sure you have an hour to yourself to just let it wash over you. Callahan’s ambition and essence haven’t been diminished by him being in a good headspace. He’s a man born to tell stories, and he’s no less of a storyteller than he was in his early 30s.

Widow’s Weeds may very well be the most ambitious album of Silversun Pickups’ catalog. And though it finds the band at their most self-assured with the cleanest, most polished sound of their career, it can also feel rushed, unfocused, hollow, and, worst of all, forgettable. It’s an ambitious, heartfelt album that never becomes the powerful record it was intended to be.

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.

Despite the lower volume, Bruce Springsteen sounds positively invigorated on Western Stars. With a new sonic palette and renewed focus on the LP as a means of writing short stories, it’s easily his best album of new material since 2007’s Magic.

Chock-full of mature songwriting, sometimes hard-hitting and sometimes sweeping from low-lit nadirs to explosive zeniths, Midnight is a brawny performance from a young artist.