As a soundtrack, End of the Day will ultimately be a minor work in Barnett’s catalog. However, it does illuminate her capacity to lower the volume and explore a different register of ambient frequencies in her ongoing sound. This LP is fascinating for its introspective character, even if the key elements that have defined Barnett’s popular appeal are missing.

On The Window, Ratboys reach their fullest potential, expanding and stretching their collaboration, continuing to explore their multi-faceted musical face. They have produced one of their best and most rewarding efforts thus far, and the catchiness of their songs will make listeners return gleefully if the tracks don’t stick to them during intermission.

Whichever end of the spectrum you might land on, there’s rage, yearning, and reckless behavior here that transcends generations, which is a soaring accomplishment.

The new album Jump for Joy switches up the mood considerably, offering a bouncy set of tracks that build on youthful enthusiasm and maturing gratitude.

Playing Robots Into Heaven is ultimately a flawed but, at times, interesting and worthwhile foray for Blake into more beat-led, dancefloor-friendly music.

No, there’s nothing here on the order of “I Love It”, which may or may not have to do with Charli XCX having written none of the new release’s 15 songs. Nonetheless, this music is quite successful at doing what it’s designed to do: fan out into clubs, teenagers’ playlists, and Urban Outfitters franchises and reach the nearest available pleasure receptors of young listeners.

As with her best work, there are some great moments on the record, but overall, Hit Parade is a bit inconsistent; its title is false advertising. It’s a frustratingly uneven album, with just enough genius to make the mediocrity on some tracks stand out.

Everything Is Alive may not have a “Star Roving” kind of single tucked within, but it still hits the listener where it counts, deep within the tenth listen with the lights turned down low in late autumn. Don’t fret over any initial impressions of stasis. Everything is indeed alive.

You’re the One can get a little lost in its own scope, both a strength and weakness, but Giddens’ exploration of the extensive history of American music continues to be compelling and enlightening.

So much of Homo Anxietatem is about using guitar-driven music to excavate deep feelings of hurt, fear, and anxiety and to process those feelings through the music. Those who listened to Shamir’s previous record won’t be surprised and just how fantastic Homo Anxietatem is.

There are outstanding performances throughout Sundial. Rapper billy woods in “Gospel?” spews magma, and Chicago legend Common drops a verse on the song “Oblivion” that could have easily fit into his great album Be from 2005. The singer Ayoni adds her voice on two tracks to make Sundial feel like a momentous occasion.

Gregory Alan Isakov hasn’t reinvented the wheel – his style has been implemented by plenty of artists before and currently – but as Appaloosa Bones proves, few artists can do it as well as him.

Carlile’s voice sometimes overshadows Mitchell’s newfound alto, an intriguing new area in her vocal range that symbolizes the current wise and withdrawn period of her life.

In conclusion, half an album here marks some of Lydon’s best work in decades and a half that should have never left band practice.

One of the issues with Euphoria is that it’s very pretty, almost oppressively so. The beats and the synths are rounded and smooth like baby-proofing edge guards. The vocals are fetching, as Georgia has a delightful voice. However, she has chosen to sing most of these songs in a demure, modest delivery. So, even though the title promises euphoria, it rarely reaches that high of a peak.

The Loveliest Time is a sharp, upbeat, and sonically diverse companion to its predecessor.

As displayed in Loving You, Amanda Shires and Bobbie Nelson shared a profound connection. The result is a tribute to the artists’ talents and essential listening for piano-based country music fans and Americana listeners.

We get some huge heavy hitters who do very good-to-great work. But the record sinks into pink slush during the so-so-filler tracks. Although there are some fantastic high points and some tacky low points, Barbie: The Album still manages to pull through with a cheeky victory, even if it’s qualified.

Supernatural Thing may not be the best album M. Ward has ever created. Still, it’s a highly enjoyable musical journey that, like a novel with unique twists and turns, is greatly aided by its sense of darkness, mystery, and exciting characters.

In Times New Roman… is classic Queens of the Stone Age in all its grit and posture, but with a newly found lyrical resonance, making it a worthy late addition to their consistently upstanding catalog.

The Greater Wings is sublime and difficult to fault. Fans of Byrne will be delighted and moved to hear her grow even further as an artist and songwriter, not least in her coming to terms with grief and pain. New listeners to Byrne will surely find an artist of great pathos and empathy whose talents may now get the wider hearing they deserve.

“Tumbling Dice” and “Easy Falling” also feel a little indistinct. The former has a pleasing descending melody and uptempo drum beat but isn’t particularly memorable. Meanwhile, “Easy Falling” is a floaty, washed-out ending track that, while peaceful, isn’t an especially strong closer. Slugs of Love is nonetheless a great return to form from Little Dragon.

It’s hard to say if this is Lofgren’s finest hour or just another fine hour in a long line of them, and in the end, it doesn’t really matter.

Guajiro is nothing too cutting-edge in terms of sound; its strength is in the band’s understanding of musical roots. Still, it feels fresh, endowed with a collaborative spirit that makes for something wonderfully new.

["The First Time I Fell in Love" is] a confident personal expression to close a record full of travel and grand events and unleashed energy. It's the perfect finish, a close-up after a run of characters and frequent rowdiness that calmly settles one of the year's best albums.

The lyrics seem to be its weakest part. Although the words can be clever, the singer-songwriter seems to have nothing to say. Sometimes, this works to his advantage.

Speak Now (Taylor’s Version) is a nod to one of life’s central truths: you can’t go back in time, and you can never perfectly replicate your youth, but there are always new paths forward.

The Dirty South is an absolute gem, and The Complete Dirty South is an upgrade over the original version. However, it may be that this edition only appeals to Drive-By Truckers’ hardcore fans. The physical two-CD set is wonderful and the best available version of the record.