Williams refines her singular voice as a songwriter, bringing a focused, single-minded intensity to her songs without giving the impression that she’s ever repeating herself.

An exhaustive presentation of Mitchell’s process in this era. Some of the recordings are so good that it’s difficult to understand how they sat in the vaults for this long. Others are brilliant, but close enough to the released versions that anyone with less than a scholarly interest in Mitchell would be better served by the official albums.

The only outright misstep is “Cocoon,” where a generic 2010s-indie rock arrangement flattens some of the record’s most intense lines (“I’ve become a taxidermied version of myself”). Throughout the rest of the album, the production only elevates her writing.

Water Made Us is dextrous and steady. It conjures a profound sweetness from ordinary musings and takes the guile out of relationships.

Though he’s preternaturally funny and frequently debonair, only a portion of these songs approach the vim and vigor of his generation-defining anthems.

It’s a dense piece of work and a dizzying journey, but at its best, you get the sense Marsalis knows exactly where his spaceship is going.

Goodnight Summerland displays a fresh focus and intention. Here, Deland shifts toward a stripped-back, folksier sound, highlighting her gossamer voice and newfound observations about the ache of grief and the passage of time.

Whether he’s falling in or out of love, going out, or reflecting on the night before, Sivan sounds more credible than ever, pairing a newfound swagger with a heady rush of emotion.

With Goodbye, Hotel Arkada, she invites an array of collaborators to help craft pensive songs that grow out of moments past. While her instrument’s luminous tone remains the music’s defining characteristic, she embraces a darker mood than before.

The whole album is bolder and brasher than previous L’Rain records, every harmony, loop, and skit engorged with verve. Cheek has figured out how to maintain her slippery, impressionistic style while also letting it be known she’s got that dog in her.

Perspective is the sound of an artist stretching herself and succeeding—not because of any embrace of the Western classical tradition, but because she challenges its norms so effectively.

Perfect Picture hits its sweet spot with the mid-album trio of “Flashback,” “No FX,” and “Lip Sync.” “Flashback” tenderly reflects on a bygone relationship, lowering the emotional temperature a notch, before the sugary love song “No FX” picks it back up again to become the album’s shimmering centerpiece

For All the Dogs caps off a recent persona that sounds like none of it’s fun to him—and he’s dragging us along to be the company of his misery.

It’s music for small rooms with weird lighting, old churches where you have to sit on a bench, graveyards where you are always standing under a tree. It is also poetic but in an extremely self-aware and twee kind of way, doing things like meditating on the difference between “dog” and “god” or describing a weirdly sexy interaction with a doctor.

In track after track, he mulls over memories of neighborhood characters and late-night hijinks, contemplating all the ways that the city can grind you down. The lone exception is “Riding Cobbles,” a lighthearted fantasy of European idyll. Several Songs About Fire plays out like a long, messy divorce from an adopted home. Musically, though, there’s nothing shaggy about Several Songs About Fire.

Slow Pulp excel in this pared-back country-folk mode, with a sigh of pedal steel or a hug of harmonica, and vocals that feel like a secure embrace rather than a distant cry. When the pressure of life threatens to pop you like a tire, their clear-eyed sincerity keeps on rolling.

I Don’t Want You Anymore paws at ambiguity. The feelings are raw, and Creevy resists major-chord resolutions.

It’s got at least one song that instantly joins the ranks of his very best (“Will Anybody Ever Love Me?”) and plenty that draw direct lines to previous high-water marks, both thematically and musically.

Though Settings’ music sprawls, it feels minimalistic in practice, exploring just a couple of chords like Philip Glass and encouraging deeper listening like Pauline Oliveros.

The warmth emanating from the lyrics flows throughout Nothing Lasts Forever. Teenage Fanclub never quickens the pace or belabors the melodies, choosing to luxuriate in their twilight grooves.

The arrangements are lean and pared back, even as the lyrics erupt with florid descriptions that feel like direct entreaties to the senses.

The guests bring a welcome sense of contrast to Armand Hammer’s own styles. Moor Mother’s breathy enunciation floats through woods and Elucid’s more pronounced flows, while Pink Siifu’s monotone straddles the line between lethargic and loquacious.

Its genesis, development, and creation are extensively chronicled in Who’s Next | Life House, an 11-CD box set that beautifully communicates the spirit of the original project by opening up the vaults and inviting everybody inside.

The catchy country-pop rhythm of the title track, buoyed by a twangy electric guitar solo, wouldn’t have sounded out-of-place in between Clint Black and Dwight Yoakam on Country Music Television in the 1990s, but Childers frequently channels a vision of the genre that predates the video era.

Smith’s voice is assured and grounded: She reaches far less frequently for belting high notes and runs than she did on Lost & Found, instead sitting back comfortably.

Compared to the darkly mesmerizing dread of records past, here Lopatin practically kicks off his shoes and settles in for a comfy night on the couch, flipping channels through one distorted display after another. Without a clear framework tying it all together, Lopatin’s logic itself becomes the album’s defining quality.

Despite a few trite lyrics, there are many transcendent moments on Heaven. Sol is able to pivot between multiple emotional states—gratitude, calm, yearning—within the space of a single vocal run, like on album standout, “Heaven.”

What remains so great about Tim, and is emphasized over and over again on this new remix, is how Westerberg delivers each song as if it’s the last thing he’s ever going to do.