Thomas Bedenbaugh

Rina Sawayama ‘Hold the Girl’ isn’t as bombastic or inventive as the singer’s debut, but it reflects her growing introspection.

Tove Lo’s ‘Dirt Femme’ is a collection of occasionally catchy dance-floor filler, but it’s burdened with a concept that’s undefined.

On ‘The Car,’ Arctic Monkeys sound reinvigorated, proving that the sonic risks of their last album were far from a dead end. Read our review.

On ‘The Car,’ Arctic Monkeys sound reinvigorated, proving that the sonic risks of their last album were far from a dead end. Read our review.

Röyksopp’s ‘Profound Mysteries III’ is sonically similar to its predecessors, but this is the most introspective release of the trilogy.

Yves Tumor’s ‘Praise a Lord Who Chews but Which Does Not Consume’ finds emotional power in its varied sonic palettes and searching lyricism.

Ben Folds’s ‘What Matters Most’ amounts to a relatively familiar reflection on aging and the passage of time. Read our review.

While Chris Stapleton’s voice is as expressive as ever, the songwriting on ‘Higher’ feels safe and, at times, almost anonymous.

The cover songs on Trevor Horn’s ‘Echoes: Ancient & Modern’ are rendered so pristine that they lose all sense of identity.

On her sixth studio album, ‘Deeper Well,’ Kacey Musgraves digs into both her psyche and the sounds of folk music.