The full-length culmination of their Name Chapter era, Tomorrow x Together's third Korean-language album, Freefall, is a pure thrill. Blasting across genres with ease, the group's biggest accomplishment is making it look so effortless. On the opening run alone, they launch into a powerful, riff-heavy take on nu-metal with "Growing Pain" before sliding into irresistible neon-synth territory with "Chasing That Feeling" (the digital version of the album includes an English-language take on the track). Then, the elastic dance party "Back for More" (sans Anitta) -- which features Ryan Tedder as one of the songwriters/producers -- slinks straight into the sensual R&B slow jam "Dreamer." Freefall continues with rock balladry, soaring anthemic pop, and a bouncy collaboration with the Jonas Brothers, "Do It Like That." With each subsequent release, TXT just keep getting better and better.© Neil Z. Yeung /TiVo

French touch is all about synthesis, uniting house, disco, electro, R&B, and pop into a sound that's eternally nostalgic and contemporary, and in some ways, Breakbot's music is its logical end. This most stylish of musical styles had been going strong for decades when Thibaut Berland proved that he, like the style's forefathers Daft Punk, excelled at bringing personality to its slickness. Breakbot's debut, By Your Side, punctuated its dancefloor workouts with tracks that sounded like they could be chart hits in an alternate universe, but it feels like a dress rehearsal for Berland's follow-up. Still Waters brings even more hooks and warmth to Breakbot's sound -- as "The Sweetest Romance"'s chorus suggests, this is music that's in love with music. Berland and vocalist Irfane, now an official member of the project, wrote much of the album while touring in support of By Your Side, so it's not surprising that Still Waters distills the most crowd-pleasing parts of their sound. This includes a focus on Irfane, who sounds especially good on "Get Lost" and "2Good4Me," a moody standout that borrows from 21st century R&B production. Meanwhile, the female vocalist who appears on several songs is as much of a revelation as Irfane was on By Your Side, particularly on "Too Soon," which feels like a long-lost sister to the classic "slow down" R&B and pop songs of the '80s. Sticking with just a few vocalists sets Breakbot and Still Waters apart from the tradition of dance music producers who work with a wide cast of singers, and this streamlined approach trickles down to the rest of the album. The handful of instrumentals have more drive and purpose than they did on By Your Side while maintaining, and even enhancing, Breakbot's playfulness. "Wet Dream" sounds like a French touch pool party, with wittily used filters adding to its underwater appeal, while "Still Waters" itself makes the most of Berland's fondness for peppy keyboard lines that sound like they're culled from the greatest '80s TV show theme that never existed. Nevertheless, Still Waters feels more controlled than the high-flying By Your Side. Breakbot described the album as "music for a barbecue," and there is a summery haze to these songs that makes them more suited to chilling out than working up a sweat. What Still Waters lacks in spontaneity it more than makes up for in an album that proves Berland and Irfane can take their music in a more cohesive -- but equally satisfying -- direction.© Heather Phares /TiVo

Double live albums were commonplace during the '70s, even for bands that weren't particularly good in concert. As a travelin' band, Lynyrd Skynyrd made their fame and fortune by being good in concert, so it made sense that they released a double-live, entitled One More from the Road, in 1976, months after the release of their fourth album, Gimme Back My Bullets. That might have been rather quick for a live album -- only three years separated this record from the group's debut -- but it was enthusiastically embraced, entering the Top Ten (it would become one of their best-selling albums, as well). It's easy to see why it was welcomed, since this album demonstrates what a phenomenal catalog of songs Skynyrd accumulated. Street Survivors, which appeared the following year, added "That Smell" and "You Got That Right" to the canon, but this pretty much has everything else, sometimes extended into jams as long as those of the Allmans, but always much rawer, nearly dangerous. That catalog, as much as the strong performances, makes One More from the Road worth hearing. Heard here, on one record, the consistency of Skynyrd's work falls into relief, and they not only clearly tower above their peers based on what's here; the cover of "T for Texas" illustrates that they're carrying on the Southern tradition, not starting a new one. Like most live albums, this is not necessarily essential, but if you're a fan, it's damn hard to take this album off after it starts. © Stephen Thomas Erlewine /TiVo

A classical orchestra playing the label’s classic hits. That’s how Pedro Winter, the founder of Ed Banger, chose to celebrate the label’s 15th anniversary. After a unique concert on March 31, 2018 at Le Grand Rex in Paris with the Orchestre Lamoureux, conducted by Thomas Roussel, the 27 tracks on the setlist were re-recorded identically for this anniversary record, which reminds us that the French label has produced a considerable number of hits. First up, we have three funky tracks by Breakbot, where the virtuoso pianist Gaël Rakotondrabe (collaborator of CocoRosie and Woodkid) and the 70 musicians perform the songs with palpable enjoyment – clearly they don’t often get the chance to play disco! Next up is Cassius and his hit I

When Peter Green issued Little Dreamer in 1980, it was the second straight year he had released an album after a nine-year gap. Fairport Convention drummer Dave Mattacks must have wondered what he had gotten himself into because the opener, "Loser Two Times," ais almost as close to disco as the Rolling Stones got with "Miss You." Green continues in a funky vein with "Mama Don't You Cry," as if shaking off the cobwebs and actually trying to pay attention to the current scene. He goes right back to his roots on the album's third tune with "Born Under a Bad Sign" and stays with blues derivatives the rest of the way. The album-ending title track sounds like a seven-minute version of the dreamy Green tune "Albatross," a hit for Fleetwood Mac in the '60s. Sounding more confident than on his comeback album, he seems more like the Greeny of old, although the move toward funk didn't really suit him.© Mark Allan /TiVo

Bandleader Simon Jeffes composed the leadoff track "Music for a Found Harmonium" on a harmonium he found abandoned on a Tokyo street, which offers an inkling of the musical inspiration that sprang from this remarkable Englishman. As usual, he gathers a loose aggregation of musicians who create stunning, free-flowing acoustic sounds that defy categorization. Jeffes includes brass here for the first time on a Penguin Café Orchestra recording. Recorded over three years, the band's third album is worth the painstaking studio overdubbing by its leader, who died of a brain tumor in 1997.© Mark Allan /TiVo