FLOOD

It’s another great Queens of the Stone Age record that’s simultaneously of a piece with the others and distinct in its character and identity.

For as much as the spiritual jazz movement of the 1970s reached for the stars, the great triumph of “The Elements” is how earthbound it feels.

On paper, “Everything Now” is the dourest of any Arcade Fire album, a significant achievement for a group whose debut album is called “Funeral.”

Is Big Boi underrated?

This band does delicate beauty so well that the stand-out moments of “Crack-Up” tend to be the ones where they let their hair down a bit.

These are songs that feel like they’re reaching for something; songs that sound like invocations.

On his third full-length, DeMarco pits the innately good-natured, easy-going tone of his music against a hint of sorrow in his lyrics.

Leslie Feist is casually virtuosic and quietly adventurous throughout her first record in six years, though you never get the sense that she’s pushing things just to push.

“DAMN.” bears our struggle and triumph, swagger and fear, success and uncertainty, love and original sin.

Nothing here wants for hooks or for energy, but the songs on The New Pornographers’ seventh album all seem flat somehow.

Colter creates music that drones, builds, drifts, and crests, never following familiar emotional beats but instead allowing them to follow their own wild intuitions.

“Salutations” maintains the tattered humanity of its unaccompanied counterpart, but somehow makes it all go down a little smoother.

There was always bound to be a straight-ahead dance-rock album from Spoon. How could there not be?

“Being You” is gnarly and cerebral, the sound of a jittery headspace that’s got room enough for every flight of fancy.

Sampha’s debut is a record with broad appeal and precise vision; a record where listeners can find themselves but also where they’ll spot the auteur’s hand if they really care to look for it.

The erstwhile minimalists have never made a record that sounds so glossy and full, but there’s not enough production polish in the world to mask the the hurt and the vulnerability at its core.

There is immense catharsis in Killer Mike and El-P’s appetite for destruction.

It’s tough to shake the idea that we’re getting the real John Legend for the very first time.

The author’s reflections on his relationship with his deeply racist brother make an appeal to our common humanity.

If a sudden shift toward EDM trappings sounds like an awkward fit for an alt-country band, on “FLOTUS,” it plays out as neither sudden nor awkward.