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.