Injecting a familiar formula with a justified newfound seriousness, With a Hammer further cements Yaeji’s place as one of the most valuable producers active in electronic pop today.

A collaborative winner delightfully devoid of ego or pretense. Here, each voice works to create something greater than the sum of its parts, which is rare for supergroups.

Yes, there are a lot of elements put together here. The thing is, this is not about juxtaposition. It’s about synthesis and transformation.

Though a handful of tracks sparkle, Under Ocean Blvd is a chore to ingest across its regularly lulling 77 minutes. ... Yes, Del Rey sings beautifully and will rightfully be recognized as a veritable voice of her generation — both in technique and disillusion — but here the cool distance she’s maintained between herself and listeners feels more expansive than ever.

Her most adventurous album yet. ... On Mañana Será Bonito, the future looks bright for Colombia’s next pop queen.

The project is very human and certainly the band’s most dynamic effort to date. Never has Paramore left so much space in its productions or allowed Williams to sound so sparse in moments, like her tiny frame might finally shatter. Nor has the band ever played so deftly with sounds of comfort and alarm, like a clock radio slicing through the most blissful dream.

This is no mere studio project. The Smile are an actual, organic live band.

As the conviction of his verses grows throughout the album, so does the scope of its production. Building on the more upbeat instrumentals of last year’s Disco!, MIKE continues to expand his musical palette on production, adding dancehall, bossa nova and more to his signature slowed vocal loops. The result is some of his most uplifting songs yet.

Sail on Sailor – 1972 is a fascinating look behind the curtain at the end of the Beach Boys’ most fruitful creative period.

It’s an album of expertly crafted dark-pop confessions with flecks of glitter and aspiration — a purposefully fitful project mimicking her racing thoughts. The high-gloss pop production marks Midnights as a sullen sister to Lover, her honey-dipped 2019 effort, rather than a successor to 2020’s heartstrung Folklore and Evermore.

On Being Funny in a Foreign Language, the lyrics remain flippant. The instrumentals are gone. On the following 10 tracks, you can feel Antonoff taking over to guide the band’s more straightforward pop songs. ... It’s the 2022 Antonoff playlist it was crafted to be. It’ll make a lot of people happy. It sounds like it made the band happy too.

Across 14 tracks, there is no obvious hit to match the enduring success of 2014’s “Archie, Marry Me” or 2017’s “Dreams Tonite,” each touting a cool 70 million listens on Spotify — massive numbers for a band that began in the outlands of Nova Scotia and Prince Edward Island. But each song has its place and raison d’etre amid this fully realized batch of tunes detailing heartache, lonesome fury and wistful wonderment.

Cool It Down, is less of a step forward, or in any meaningful direction, and more of a twirl in place. It’s a pleasant and polished listen, more palatable than its predecessor, with glimpses of the band’s top gear. But fans anticipating some return to the frenzy of “Tick,” “Man” or “Pin” will keep waiting.

An emphatic and generally more unbuttoned sophomore project. The “surrender” here appears to be two-pronged: First, a submission to the songwriting process itself, as this record is markedly more explorative than the last, particularly in its crunching British rock sensibilities. ... Many of the album’s most affecting moments accompany her urgency to hit the road.

The Other Side of Make-Believe maintains the charm and intrigue that made Interpol indie darlings 20 years ago, but it also finds the band aging gracefully — these brooding New York boys are now men who embrace their emotions.

The most roundly captivating pop album released so far this year, indie or not. It’s a record to wear out through Labor Day, if not longer.

Harry’s House reinforces Styles’ signature sensitivity in an authentic way and shows he’s more than earned his place as one of music’s most innovative artists. More importantly, he reminds us that he’s a pop star playing by his own rules—and he’s here for the long haul.

It’s rare when two creative forces like Yorke and Greenwood step away from their still-active primary band and create something this worthwhile on its own merits, and who knows how, if at all, the experience will influence Radiohead’s canon moving forward. No matter what happens, A Light for Attracting Attention is a most welcome vibe flip.

Dance Fever is a worthy addition to the band’s catalog, with enough moments to be plucked for what will surely be an invigorating series of live shows beginning in September. It’s a sly and polished effort, sustained by Welch’s fearlessness both in vocal technique and lyrical vulnerability. No modern artist commands such power in both moments of ethereal humanity and mountainous throttle.

Playing out like a one-man Verzuz, Pusha moves deftly between Pharrell’s outer-space soundscapes and Ye’s on-the-nose vocal loops. Despite their audibly different production styles, the two artists occasionally mirror each other as they cater to Push’s sinister style.

[WE] is more thoughtful and concise about the proverbial end of the world. And as with all Arcade Fire albums, it’s an urgent, earnest piece of work — no less vital than their worshiped LPs Funeral (2004) or The Suburbs (2010).

The entire point of Melody’s Echo Chamber is for listeners to find their bliss while Prochet quests for hers. While Emotional Eternal sustains this winsome, pastel streak, it’s mellower, more assured, more grounded, far less a product of happy studio accidents than what came before.

Alpha Games is a reconfiguration of sorts. It’s not imitating the earlier works in Bloc Party’s catalog so much as it is building from them. Produced by Adam Greenspan and Nick Launay (IDLES, Yeah Yeah Yeahs, Nick Cave), their latest creation is an exceptional addition to their arsenal.

The album is curated like a museum, preserving the best of their sound while polishing the crucial details. Spaceman continues to fine-tune his astral pop sound with shocking consistency throughout the familiar but delightfully hypnotic space rock album.

[Wet Leg] is witty, self-referential and danceable, loaded with anthems for the extroverted introvert.

Even though we’ve spent 10 songs becoming accustomed to Chloë’s milieu, Tillman upends that comfort on the 11th song. Ultimately, Chloë and the Next 20th Century signifies something larger. Father John Misty will always be interesting.

Collins and Bejar, who sent ideas for Labyrinthitis back and forth Postal-Service-style from their respective homes in Galiano Island and Vancouver, craft compelling songs that deserve respect in their own right. They go beyond pure pastiche by tying everything together with arrangements and lyrics that are charming in equal measure.

Those who wanted another full flamenco affair like El Mal Querer might be disappointed, but MOTOMAMI is an exciting detour where Rosalía flexes her seemingly limitless artistry across 16 tracks.