Leader Adam Granduciel achieves full-on sonic rapture with his band's latest LP, an abstract-expressionist mural of synth-pop and heartland rock colored by bruised optimism and some of his most generous, incandescent guitar ever.
Ultraviolence is a melancholy crawl through doomed romance, incorrigible addictions, blown American dreams.
Songs of Innocence is a triumph of dynamic, focused renaissance: 11 tracks of straightforward rapture about the life-saving joys of music, drawing on U2's long palette of influences and investigations of post-punk rock, industrial electronics and contemporary dance music.
Father of the Bride is so zealously detailed and meticulously contoured that you easily sink into its inventions.
The Monkeys keep on evolving ... their fifth LP is this quintessentially English retro-rock band's most American-sounding record, especially rhythmically.
His latest ... seems like a broader, and altogether more stunning reaction to losing his son.
The mostly epic-length tracks – almost entirely written by drummer Lars Ulrich and singer-guitarist James Hetfield – are melodically assured furies of serial riffing and tempo shocks.
Kesha channels that drama into the best music of her career – finding common ground between the honky-tonks she loves and the dance clubs she ruled with hits like "Tik Tok" and "Die Young," between glossy beats, epic ballads and grimy guitar riffs.
What’s most impressive about The Highwomen... is how artfully, and matter-of-factly, it engages social issues.
Upping the spectacle from Fear Fun, his 2012 debut, I Love You, Honeybear is an autobiographical set about love, marriage and derangement that's both ironic and empathic.
In many ways, Daytona replicates Jay-Z and No I.D.'s 2017 rap highlight 4:44: two older men who simply practice their craft, their legacies already secure.
As glorious as the sound of this thing is, glinting with letter-perfect ‘70s-’80s rock sonics and touches of 21st-century psychedelic irony, the songs are the show, written by a woman of a particular age from a perspective well past jaded.
Cuz I Love You follows through on the legend she’s been steadily building over the past few years.
X100PRE is everything you could possibly want from a debut album: Plenty of the stuff that initially brought Bad Bunny fame along with some impressively executed forays into new styles — no small feat, considering how many genres he has already infiltrated.
Lamar is an unlikely star: a storyteller, not a braggart or punch-line rapper, setting spiritual yearnings and moral dilemmas against a backdrop of gang violence and police brutality.
St. Vincent is her tightest, tensest, best set of songs to date, with wry, twisty beats pushing her lovably ornery melodies toward grueling revelations.
... her magnificent fourth LP, which grows her trademark examinations of romantic decay to cathedral-like scale.
In its own way, its as artful, ambitious, determined, joyous and inspiring, as Lemonade or To Pimp a Butterfly. It's a sexy MF-ing masterpiece.
His first LP in five years is structured like a ride on the cosmic train, complete with silly sex songs and a plea for peace. The result is classic Paul.
Riding diabolically hot beats from producers like Mike Will Made It and Hit-Boy, she breathes fire and oozes soul every time she touches the mic. This is a rap royal in full flex.
On his superb solo debut, the One Direction heartthrob claims his turf as a true rock & roll prince, a sunshine superman, a cosmic dancer in touch with his introspective acoustic side as well as his glam flash.
The Nashville star's most ambitious LP, a range-y two-disc set ditching country's mainstream playbook for the sort of Great Album rock acts used to spit out regularly back in the day.
This is Daft Punk conjuring the musical era that first inspired them, when disco conquered the world with handcrafted grooves and prog-rock excess magnified emotions in black-lit bedrooms.