Thomas Bedenbaugh

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

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.

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

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

On ‘The Other Side of Make-Believe,’ Interpol attempts to recapture the dramatic but alluringly detached sound of their early releases.

On ‘Sometimes, Forever,’ Soccer Mommy attempts to keep one foot in that sonic world while charting a new direction. Read our review.

‘Harry’s House’ sees Harry Styles growing comfortable enough within the pop idiom that he inhabits to push against it. Read our review.

Toro y Moi’s ‘Mahal’ feels a lot like the aural equivalent of lazing around on a Sunday afternoon. Read our review.

Banks’s ‘Serpentina’ asserts its uniqueness in paradoxically conventional and unsurprising ways. Read our review.

Kurt Vile’s ‘Watch My Moves’ is a competently written set of Americana-inflected rock, but it’s disappointing to see him play it safe.

Rosalía’s ‘Motomami’ is a collection of deeply personal songs in which the singer wrestles with questions of fame and heartbreak.