The rebellious youth energy that made Teen of Denial so vital has been stripped away for no obvious reason, leaving an album that feels hollow where its predecessor felt alive.

On their 26th record, King Gizzard takes on yet another genre and mostly makes it work, despite it feeling a bit half-baked.

Peggy's newest album is his most ambitious and instrumentally diverse yet, starting off by bursting through the door with bangers and ending with melancholy rap ballads.

In a year filled with releases from major pop artists, Charli XCX casually drops an instant classic with no fillers or low points, sounding unlike anyone else in a typically saturated genre. Collaborating with the crème de la crème of producers and showcasing her strongest writing to date, this album is poised to top many year-end lists and potentially be regarded as one of the best albums of the decade.

"Clancy" represents a partial return to form since "Trench," but it still feels somewhat scattered and inconsistent in quality.

"AMAMA" may be somewhat flat overall, but it remains decidedly more interesting than many other recent releases.

Billie Eilish's new record reaffirms her status as the most intriguing pop star in the mainstream, featuring an album that is definitely stronger in the second half yet well-rounded overall, thanks to the creative production of her brother.

This album embodies the ambiance of a dimly lit, smoky bar, with Jessica Pratt gracing a small stage singing her heart out, and I'm all here for it.

"Diamond Jubilee" strikes a balance between familiarity and mesmerizing allure; however, one can only speculate about the potential masterpiece this album could have been with some trimming and focused development.

Mdou Moctar remains among the select few bands consistently delivering cutting-edge rock of remarkable quality, skillfully interwoven with thought-provoking lyricism.

"Radical Optimism" by the Albanian artist displays a promising start with tracks suited for summer, but falters slightly in its latter half, diminishing its overall impact.

Kamasi Washington's latest record isn't merely a well-oiled machine, but rather a cohesive body moving in harmony, striving towards the absolute perfection of its genre, despite already reigning atop the world of modern jazz, he somehow ascends to new heights.

Adrianne Lenker's newest solo project is a warm collection of poetic songs that evokes the ambiance of sitting around a campfire with close friends, weaving tales of joy and sorrow.

St. Vincent's 'All Born Screaming' feels like a manic modern orchestra led by a glamorous Flapper.

Grief is a complex feeling that's hard to explain simply. But Phil Elverum manages to express it beautifully, sharing his own experiences in a poetic way. Right from the start, his words hit hard, capturing the deep sense of loss, yet also serving as a touching tribute to someone special who's no longer here.

Justice delivers an album packed with bops, albeit slightly frontloaded.

Sundial's instrumentals are sharp and have a few sprinkles of smart comments here and there, but ultimately, they are drowned out in narcissism and a lot of bad takes.

Full of bops and a wide range of instruments, Jepsen is having fun while reliving tragic tales lyric-wise.

Austin is a personal and wholesome record, but unfortunately, it is also somewhat bland.

Bloated and inconsistent, UTOPIA is full of underwhelming performances that feel lackluster and half-baked.