Of course, anyone who misses the fiery sturm und drang of Grails’ earliest work might somewhat lament their absence on Anches en Maat. The fiddle and fury of their first few records is ancient history at this point, though, and they’ve been reinventing themselves ever since. Thank the deities they have, too.

On Robed in Rareness, Butler takes yet another step in his forward-thinking, far-sighted project, as the opening track title, “Binoculars”, indicates. Despite the brevity of this release, space is still the place.

Kourtesis pieces together all the samples, sounds, and roots she has brought us before in a tighter and more incandescent package than past EPs. Certainly, it’s a debut worth the wait.

It’s another solid, consistent piece of work that shows the country legend having fun and enjoying herself at this point in her career.

As a document of late Superchunk, Misfits & Mistakes provides a fascinating glimpse of them trying new things while reaffirming their signature contributions to the indie rock canon. The sound of Superchunk has aged remarkably well, adapting to our fast-changing times as circumstances have dictated.

Though Higher isn’t Stapleton’s most significant work, it still shows off a remarkable and distinct talent. The album is also a prime example of mainstream country rock at its finest.

The whole album feels like the band are genuinely interested and engaged.

An impressive collection that has made her one of the most notable artists of this year. It will be exciting to hear what comes next.

As far as 21st-century Orchestral Manoeuvres in the Dark goes, it contains some all-time highs and some all-time lows. Overall, that leaves it as the second-best of the bunch, behind the excellent English Electric (2013).

Sufjan Stevens’ musical journeying over the past two decades comes to its fullness as he grapples with these concepts. Every piece fits perfectly, but more than that, he knows what sort of puzzle to construct.

For the most part, Drop Nineteens play to what they do best, which is creating hooky, melodic songs that don’t shy away from experimental passages and sonic side plots.

Gamble recognizes that AI technology is outstripping our ability to understand or harness it. His latest release can be seen as an unsettling commentary on that reality.

She doesn’t know the meaning of life any more than the rest of us. She has given the question serious thought and created art from the possibilities by singing, playing, and recording over the telephone late at night. That offers its own charming reasons for existence.

Goodbye, Hotel Arkada is a fine album and deserves a listen from any fans of experimental, ambient, and electronic music. At times relaxing and others contemplative of life’s great mysteries, it’s a work of beauty and consideration.

While 1989’s vault tracks aren’t necessarily as immediately attention-grabbing as those from other re-releases, they still pack an emotional punch like only Swift can deliver.

Coyote is more melodrama than human drama. The material is worth hearing because of its merits rather than for insights about its creator.

Longtime fans will probably find plenty to like, even love, about History Books. The Gaslight Anthem are in fine form; Fallon’s still a charismatic singer, and he still shows flashes of brilliance in his lyrics.

For fans, Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) is a towering achievement. (It should be noted here that the set is also available on an edited, four-LP box.) However, the uninitiated would be better off purchasing the remasters of the original releases, The Asylum Albums (1972-1975). That said, it’s weird that the two complete live concerts are not available separately from the boxed set and are spread over more than one disc. They are worth buying the boxed set for in and of itself because they are so good.

Isn’t It Now? summarizes some of their best attributes. It also shines a harsh light on their self-circumscribed limits.

There are enough interesting ideas to keep the record from becoming a slog. Even the tracks that aren’t mesmerizing at least have some worthwhile elements to focus on. However, listeners who are more attuned to psychedelic and ambient music may get more out of those pieces.

Margo Cilker serves as a stand-in for all of us, which is why she can get her audiences to sing with her in concert or make listeners pay attention to the details in Valley of Heart’s Delight. She trusts in her visions of the outside world to tell the story of what she finds within her heart.

Troye Sivan’s Something to Give Each Other offers pop music enthusiasts a much-needed reprieve from the more emo offerings of Olivia Rodrigo or Billie Eilish. But the record falls short of its own standards, set high by the success of its predecessor and lost in its own ecstasy and provocative imagination.

If Yard evinces any steps forward for Slow Pulp, they are baby steps. There is an argument to be made, though, for being consistently good rather than only intermittently great.

With 11 tracks at 44 minutes, it feels more affirmed and settled, neither breaking fresh ground nor uncritically repeating past ideas.

Crazymad, for Me is a portrait of how we rationalize our behavior as a way of coping rather than a therapeutic dream. It’s a good thing the real Thompson presumably is not the actual CMAT. It’s an engaging fantasy.

Her lyrics are open to multiple interpretations. Her voice is accompanied by musical arrangements that range from the silly to the sublime to spoken word, depending on her message. Jamila Woods has a good sense of humor and engages in wordplay and childlike melodies to affect a mood or make a point.

Despite its open orchestration and more experimental bent, it is Modern Nature’s least interesting release.

The record is quite an accomplishment and an excellent vehicle for the singer’s estimable talents. It’s a low-key yet unequivocal triumph.