While not as conceptually taut as its forebear, the new record plays like a jolt back to reality — and a sprint toward the dance floor. It is, by many leagues, the most objectively fun Mitski album to date, anchored by the pairing of ‘80s-tastic “The Only Heartbreaker” and “Love Me More.”

Dawn FM is well-polished — co-executive producer Max Martin makes sure of it — while maintaining its dexterity, punch and sex appeal, in step with most of The Weeknd’s catalog. It’s mercifully cohesive, too, a rare A-list pop album that actually rewards the listener for engaging with it in sequence.

While more sonically ambitious in moments with bits of synth and vocal effects, 30 mostly stays the course of past Adele works: undeniable melody over gimmicks, piano and guitar built to transcend.

She’s got a superb knack for melodies, even if it means swiping them from Radiohead (“I Miss You” is a blatant “Creep” rip, probably another country first) and maybe Jimmy Eat World (“Silver Lining”). “Dandelion” is so gorgeous that anything other than teenage notebook poetry would wreck its mood.

Red (Taylor’s Version) is a highly rewarding listen for fans both casual and manic, bolstered by its excellent source material and Swift’s steady hand in rewriting her own looping history, with a few thrilling footnotes tacked on. ... Red 2.0 is another towering victory, which should be coveted by fans as Swift is surely already onto the next re-recording, furthering the worthwhile fight.

As a whole, Elephant in the Room lands somewhere between concept piece and exhibition, balancing an array of new and familiar styles. ... Seven years after his breakthrough, he remains one of the best writers in the game—but rather than a big fish in a small pond, he’s only showing room for growth.

I Don’t Live Here Anymore is The War on Drugs’ poppiest, most bombastic work yet.

Banisters is far from the flashiest or most radio-friendly album Del Ray has produced, but rarely have fans gotten such crystalline, autobiographical work from the guarded star, who appeared to revel in the cool distance of her early albums. Now, she feels more present, and much closer to her music.

The disc is fleshed out with studio chatter and intriguing early versions of songs that would appear on Abbey Road, the last album they recorded. Across the 57 tracks, we hear the band exploring music that would become timeless. Although “Get Back” is the only song that met the original criterion of being created from scratch to finish, there is much to enjoy.

The album’s production also settles into more coherent beats, a more richly-textured take on the sparse, sample-based sounds favored by underground artists like Navy Blue, MIKE, and featured artist Pink Siifu, who flows hectically over the creeping funk of “Obsidian.” ... Though one of her most conventional projects to date, Black Encyclopedia of the Air adheres to the radical tenets which defined Ayewa’s prior genre-defying work.

The anticipated follow-up to her Grammy-winning masterstroke, 2018’s By The Way, I Forgive You, is once again magnificent — a triumphant patchwork of Americana, folk-rock, pop and soul anchored by yet another show-stopping centerpiece in “Right on Time,” the album’s towering lead single.

The Melodic Blue has little else in common with The Massacre, but the former’s fascination with the latter may help to map out the sprawl of his debut studio album. ... Throughout the project, Keem’s production is often as bold as his lyrics.

Feel Flows is an absolutely essential document that takes the first steps toward rewriting the story of a band that managed to persevere against overwhelming odds.

Though periodically unfocused, it mostly succeeds in not only championing the spirit of collaboration but also accentuating its guests’ artistic strengths. Throughout this record, Vernon and Dessner find joy in community.

On Halsey’s 13-track oeuvre, they present a masterclass in songwriting and production overflowing with a seductive industrial canvas as well as noise-rock, punk choruses, and fuzzed-out guitars.

Though rife with standout tracks, GUMBO! is greater than the sum of its parts. Siifu’s ambitious range and impressive pool of features create an otherworldly listening experience, only bolstered by accessories like the poetry of Dungeon Family’s Big Rube.

Pressure Machine is, in totality, a commendable and genuinely surprising big swing, which mostly connects. It’s a project that proves The Killers won’t yet settle for festival-headlining rock legacy status.

As is often the case, we hear why certain iterations remained on the cutting room floor, but there are plenty of hidden gems in this vault-clearing effort. ... The fifth disc is composed of session outtakes and jams, and arguably is the most eclectic batch of obscurios (even if George gets a bit shouty on a couple of tracks). The jamming is more coherent than much of what was originally assembled on the third vinyl disc of “Apple Jam.”

Perhaps the most ambitious moment on the album is its warped title track which goes from a whisper to a scream when Eilish’s crystalline vocals burst from power ballad to an explosive Metallica-esque electric guitar anthem. Still, it’s the unwavering vulnerability of Eilish’s songwriting that makes Happier Than Ever most impressive.

The album represents an impressive development upon what is already one of the most compelling sounds in rap.

Though less dynamic in delivery, and less diverse in production, than prior releases, Vince Staples contains all the ingredients that make him such a unique talent.

She continues that trend on Sling, where she explores musical terrain that’s completely new to her. Though Antonoff’s production sometimes feels like it’s holding Clairo back a bit too much, that doesn’t impede Clairo from writing excellent songs. Sling is further proof of that.

Though not as brash as Goblin, nor as polished as IGOR, Call Me delivers consistent performances—and the artistic leaps Tyler’s made over the past four years are palpable in the album’s most boastful and somber moments.

A massive reissue box set has shed a glowing and loving light on this classic collection. ... Starting with the first disc, the remastered version improves the separation of the instruments and restores the warmth of the priceless harmonies that flowed from the original vinyl release. ... The box set is dominated by the acoustic wooden music on which the group built their reputation, but not surprisingly it is Stills who plugs in and cranks it up on several tracks. The tracks come in a bit jarring, but soon grab your ear.

The pop ingenue’s impassioned, sassy and highly satisfying debut album.

They demonstrate their impressive penchant for writing a variety of songs that stand on their own, but also work symbiotically. COVID-19 may have briefly put their ascendancy on hold, but with this EP, Mannequin Pussy show that they haven’t lost any of their luster.

Daddy’s Home manages to reveal the most accessible music of [her] career.

While Fearless (Taylor’s Version) isn’t quite the essential listen that a brand-new record typically would be, it’s certainly a compelling revisitation, executed with the same rigor and attention given to all of Swift’s projects.