Chosen is the debut EP from Italian rockers Måneskin, who rose to prominence after appearing on the Italian X Factor in 2017. The seven-song set features the fiery self-penned singles "Chosen" and "Recovery" along with four choice covers, including their hit version of the Four Seasons' "Beggin" and their lauded X-Factor rendition of the Killers' "Somebody Told Me."© TiVo

For fans of Jerry Goldsmith's score for Ridley Scott 1978 movie Alien, this two-disc Intrada set is the ultimate fantasy. Everything is here and then some. Disc 1 contains Goldsmith's entire score as he originally intended it with every cue in place, including those that were later cut from the film plus his recomposed versions of cues the director made him change (Goldsmith's original main theme, for example, appears without its signature heroic trumpet melody because the director thought it wasn't creepy enough). Disc 2 includes the original soundtrack as issued on LP plus six other bonus tracks of demonstration takes and even the brief except from Eine kleine Nachtmusik used in the film. The stereo sound here is fabulous, the performances definitive, and the liner notes exhaustive. And the score, like the film, is a classic of its genre. With its mixture of the ecstatic chromaticism of Scriabin, the skittering strings of Penderecki, the harmonic waves of Ligeti, and the atmospheric percussion of Herrmann, Goldsmith's score became a template for all subsequent science fiction/horror movies. But as this splendid release so amply shows, the original still can't be beat.© TiVo

Arriving hot on the heels of Latest Record Project, Vol. 1, the 2021 double album where Van Morrison unleashed all of his frustrations at being locked down during the COVID-19 pandemic, What's It Gonna Take? finds the singer doubling down on all of his gripes. The shift in intensity is apparent from the artwork depicting a couple being controlled by the hand of an unseen puppet master, an image that crystallizes Morrison's belief that the government and other shadowy forces are conspiring to take away free will from the common man. Van believes himself to be among these little folks: as he sings on one of the record's less politically charged songs, "I Ain't No Celebrity," he's merely a working musician. The fact that he was not able to work during the early months of the pandemic stoked Morrison's anger, and it shines brightly throughout What's It Gonna Take?, seeming even more vivid because his vitriolic lyrics are married to jaunty R&B rhythms or slow, soulful grooves delivered with precision and enshrined in a clean production. There's no ignoring Morrison's repeated references to Bill Gates, Mark Zuckerberg, fake news, and mind control or his huffy denials that he's a conspiracy theorist as they're pushed right to the forefront. Plus, where he seemed merely cranky on Latest Record Project, Vol. 1, Morrison is filled with bile here, letting it bubble to the surface even on slow-burners like "Can't Go On This Way." By the end of the album, he points some of this anger inward, resulting in the relatively nuanced "Fear and Self-Loathing in Las Vegas" and "Pretending," but that doesn't change the general tenor of What's It Gonna Take? The blend of anodyne R&B and anger makes for one of the odder albums in Van Morrison's body of work. © Stephen Thomas Erlewine /TiVo

Blues for the Modern Daze is the 21st album from guitar legend Walter Trout and follows 2010’s Common Ground. Produced by engineer Eric Corne (Michelle Shocked, Glen Campbell) and Trout himself, the album was recorded at the Entourage Studios in North Hollywood. Inspired by his early blues roots and by country blues musician Blind Willie Johnson in particular, the album sees Trout deliver his first proper blues album in 23 years.© TiVo

Those who think they’ve heard every sound and device in Hans Zimmer’s film score bag are in for a surprise with this one for Sherlock Holmes, the 2009 Guy Ritchie film starring Robert Downey Jr., Jude Law, and Rachel McAdams. Zimmer has pulled off a score that rivals his finest work, yet sounds like little of it. Here, sounds are as important as instruments, and they often come from organic means -- through these cues we hear the sound of a piano being played on its side, and resembling something between a dusty upright, a children’s instrument, and a Wurlitzer -- check the opening cue “Discombobulate.” Other classical instruments are used to warped yet humorous effect -- the trombone in “I Never Woke Up in Handcuffs Before” is a stellar example when played against a gypsy violin, an accordion, dumbeks, and other hand percussion. The comically operatic theater mood of “My Mind Rebels at Stagnation” is quirky and dramatic. A sparely plucked banjo enters with the piano to double with the piano before being joined by a full symphony and a gypsy-polka band before shifting the entire piece into an abundantly orchestrated folk-dance tune. All musical roads lead to “Psychological Recovery . . . Six Months,” the album’s longest track at over 18 minutes. It is in some ways the cut that evokes Zimmer’s sense of the dramatic best, and yet even here there are so many twists and turns, it feels more like a suite than a soundtrack cue. As original soundtrack scores go in the 21st century, this is one well worth exploring -- wonderfully weird and full of minor astonishments and generous quirks that will endear it to listeners of many stripes.© Thom Jurek /TiVo

Gigi's Recovery is the second album from Irish post-punk band the Murder Capital following the release of their debut, 2019's When I Have Fears. The record sees the band's sound evolve, as they push back against the darkness and grief which characterized their debut, and explore a broader range of emotions.© Liam Martin /TiVo

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With Recovery, it becomes obvious that Eminem's richest albums aren't necessarily his most structurally sound, which isn't much of a surprise when considering the rapper's full-on embrace of flaws and contradictions. This lean, mean, bipolar machine began life as Relapse 2, but when Shady decided he wasn't really Shady at the moment, and that he was no longer keen on Relapse -- or the last two albums, as he states on “Talkin' 2 Myself” -- it became Marshall Mathers time again, so damn any 11th hour issues. This results in an album where a shameless but killer Michael J. Fox punch line (“The world will stop spinnin’ and Michael J. Fox‘ll come to a standstill” from “Cold Wind”) is followed by a song with another, less effective MJF joke (“Make like Michael J. Fox in your drawers, playin' with an Etch-A-Sketch”), although that song is the lurching heavy metal monster “Won't Back Down” with P!nk, and it could be used as the lead-in to “Lose Yourself” on any ego-boosting mixtape. Ignoring these contradictions, fans can feed on the energy, the renewed sense of purpose, and Marshall doing whatever the hell he wants, up to and including shoehorning a grand, D12-like comedy number ("W.T.P.," which stands for "White Trash Party") into this emotionally heavy album. It’s fascinating when Em admits “Hatred was flowin’ through my veins, on the verge of goin’ insane/I almost made a song dissin’ Lil Wayne” and then “Thank God I didn’t do it/I’da had my ass handed to me, and I knew it,” before sparring with said Weezy on the Haddaway-sampling “No Love.” When the recovery-minded “Going Through Changes” gets back on the wagon by sampling Black Sabbath’s very druggy “Changes,” it’s a brilliant and layered idea that’s executed with poignant lyrics on top. Add the man at his most profound (the gigantic hit “Not Afraid”) and his most profane (“You wanna get graphic? We can go the scenic route/You couldn’t make a bulimic puke on a piece of corn and peanut poop” from “On Fire”) plus one of thickest lyric booklets out of any of his albums and the fans who really listen are instantly on board. It may be flawed and the rapper’s attitude is sometimes one step ahead of his output, but he hasn’t sounded this unfiltered and proud since The Marshall Mathers LP, so to hell with refinement -- bring on the hunger and spirit of 8 Mile. © David Jeffries /TiVo

With their first major label release, the Indigo Girls come on strong with an outstanding batch of tunes, watertight harmonies, impeccable musicianship, and flawless production. And entering the folk-rock music scene on the successful heels of R.E.M., Tracy Chapman, and 10,000 Maniacs pushed their sales over the million mark and earned the duo a Grammy for Best Folk Recording. The eponymous release kicks off with the upbeat jangle bounce of "Closer to Fine," a modest hit, all-time fan favorite written by Emily Saliers, and a tune the Girls still play at every concert. A particularly fascinating point is that the Indigo Girls never write songs together, but they compliment each other perfectly. The difference in styles becomes immediately apparent when the more dark and brooding Amy Ray steps up. Her remarkable contributions include "Secure Yourself," "Kid Fears," and "Blood and Fire," spiritual ruminations of life, love, pain, and faith which bury themselves deep inside your core whether invited or not. Weighting the opposite scales, Saliers offers a tender balance to Ray with two beautiful ballads, "Love's Recovery" and "History of Us." (Ray's "Land of Canaan" was once a ballad, but then she heard the Replacements and it became a bit of a rocker.) Chiming in with musical support are Hothouse Flowers, Luka Bloom, and fellow Georgians R.E.M. This self-titled release captures the passion of their youth with voices that are a little cloudy, untamed, and raw, but the power that surges through them suggests a maturity far beyond their years. The same can be said of the songwriting -- sheer poetry. To attempt examinations of these songs would not do them justice, for the layers of meaning and emotion unfold best upon repeated listening.© Kelly McCartney /TiVo

Defiantly proclaiming "I'd lose everything so I can sing," Georgia Nott opens Broods' sophomore album, Conscious, with a bang. As the tribal drums kick in, synths droning with a menacing determination, it's clear that this effort is a huge evolution for the sibling duo of Georgia and Caleb Nott. Released two years after their introspective breakthrough debut, Conscious elevates the pair from the electro-indie sidelines occupied by Vaults and MisterWives and into major-player Chvrches territory. The melodies are catchier, the beats hit harder, and the energy is palpable, leaps and bounds above the moody, downtempo Evergreen. Once again produced by Joel Little (Lorde, Sam Smith, Ellie Goulding), Conscious is the sound of confidence and maturity. The Notts have had time to develop their songcraft -- guesting with Troye Sivan and Jarryd James, touring with Smith and Goulding -- and it's apparent, much like Goulding's own major pop leap to Delirium. Lead single "Free" was the first indicator, exploring an edgy scope that the Notts hadn't come close to on their debut. The yearning and breezy follow-up single "Couldn't Believe" is another highlight, sparkling with similar energy to Chvrches' "Clearest Blue" from 2015's Every Open Eye. Fellow Kiwi Lorde lends her alt-pop golden touch to "Heartlines," while Tove Lo infuses "Freak of Nature" with melodrama. Evergreen fans will delight in the slow burn of "Bedroom Door," the droning "Hold the Line," and the mellow "All of Your Glory," however those brief plaintive moments yield to the cheerfully liberated spirit of the bulk of the album. On the closing title track, the bass booms and Georgia warns to "wait for the explosion." Although in the context of the song it's a tortured plea, it might as well be a rallying cry for the entire album. Conscious builds upon the promise of their debut and goes well beyond with a tight vision of a glimmering pop future for the Notts.© Neil Z. Yeung /TiVo

"Physical" became such a monster hit -- not just a hit, but a pop-culture phenomenon that was impossible to escape -- that it became difficult to view its accompanying album as anything other than a conduit for the single. The thing was, Physical was a damn good record, in many ways one of Olivia Newton-John's very best. Picking up where Totally Hot and Xanadu left off, Physical skillfully balances catchy yet mellow dance cuts with immaculately crafted adult contemporary pop and ballads. The title track, of course, is the best example of the dance side, but "Landslide," "Make a Move on Me," and "Promise (Dolphin Song)" illustrate that Physical wasn't a one-hit record at all -- if anything, they hold up better than the big hit. There is some filler here -- none of her records were free from that curse -- but it's well-made filler and helps make Physical one of the most enjoyable albums of her career.© Stephen Thomas Erlewine /TiVo

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With Recovery, it becomes obvious that Eminem's richest albums aren't necessarily his most structurally sound, which isn't much of a surprise when considering the rapper's full-on embrace of flaws and contradictions. This lean, mean, bipolar machine began life as Relapse 2, but when Shady decided he wasn't really Shady at the moment, and that he was no longer keen on Relapse -- or the last two albums, as he states on “Talkin' 2 Myself” -- it became Marshall Mathers time again, so damn any 11th hour issues. This results in an album where a shameless but killer Michael J. Fox punch line (“The world will stop spinnin’ and Michael J. Fox‘ll come to a standstill” from “Cold Wind”) is followed by a song with another, less effective MJF joke (“Make like Michael J. Fox in your drawers, playin' with an Etch-A-Sketch”), although that song is the lurching heavy metal monster “Won't Back Down” with P!nk, and it could be used as the lead-in to “Lose Yourself” on any ego-boosting mixtape. Ignoring these contradictions, fans can feed on the energy, the renewed sense of purpose, and Marshall doing whatever the hell he wants, up to and including shoehorning a grand, D12-like comedy number ("W.T.P.," which stands for "White Trash Party") into this emotionally heavy album. It’s fascinating when Em admits “Hatred was flowin’ through my veins, on the verge of goin’ insane/I almost made a song dissin’ Lil Wayne” and then “Thank God I didn’t do it/I’da had my ass handed to me, and I knew it,” before sparring with said Weezy on the Haddaway-sampling “No Love.” When the recovery-minded “Going Through Changes” gets back on the wagon by sampling Black Sabbath’s very druggy “Changes,” it’s a brilliant and layered idea that’s executed with poignant lyrics on top. Add the man at his most profound (the gigantic hit “Not Afraid”) and his most profane (“You wanna get graphic? We can go the scenic route/You couldn’t make a bulimic puke on a piece of corn and peanut poop” from “On Fire”) plus one of thickest lyric booklets out of any of his albums and the fans who really listen are instantly on board. It may be flawed and the rapper’s attitude is sometimes one step ahead of his output, but he hasn’t sounded this unfiltered and proud since The Marshall Mathers LP, so to hell with refinement -- bring on the hunger and spirit of 8 Mile. © David Jeffries /TiVo

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Detroit's Boldy James has one of the most enigmatic voices in his corner of neo-boom-bap street rap. It's a flat, often dazed-sounding monotone that wraps its flow so fluidly around his meticulously constructed imagery that it feels like he's less a blank slate than a still-waters-run-deep type given to introspection and stifled yet heavy feelings. Maybe that's why he's never short on inspiration; his dozen albums-plus discography in the first five years of the 2020s is already bigger and broader than some peers' 15-year runs. And James' tendency to foreground his work as a series of team-ups with distinct-sensibility producers is proof that he knows his voice can sound consistently gripping no matter the style of beats he's working with. Montreal producer Nicholas Craven rejoins him for Penalty of Leadership on the heels of 2022's fan-favorite Fair Exchange No Robbery, and the melancholy smooth-soul glide he provides is a good fit for James when it comes to highlighting the resonance in his flow and completing the emotional pull that his delivery only partially conceals. "Formal Invite" uses a velvety R&B hook ("Shots ring out/ People shout") and electric piano glimmer to play up James' uncomfortable, bleak-humored juxtaposition of death and luxury, while the droning synth slow jam haze of "Evil Genius" pulls away the facade to let Boldy confess that the drug-trade-to-rap-game career arc would've made him a lot happier if he'd been able to skip that first step ("I just wish the bro was with me, look at all the time we wasted/ In the kitchen, whippin' 'caine/ Could've been took the game and dominated"). This is a rapper who tempers the street rap tradition of second-act Scarface opulence with third-act Irishman fatalism, where the morbid punchlines in "Murderous Tendencies" ("Real outspoken, my chopper chew with his mouth open/ Died with his tongue hangin' out his mouth (Jordan)") are defense mechanisms against the guilt and horror of being haunted by your dead friends, and the idea in "Speedy Recovery" that "most of these young'uns in the street just because of me" is an unnerving thought because it just means more bodies are going to pile up. It's not all stress rap and over-the-shoulder glances; the Alchemist-esque guitar-prog noodling and supreme vet-rapper confidence of "All My Tokens" makes for a great album-closing victory lap, and his sole verse in "Early Worms Get Birds" is packed with hilariously audacious references ("Broke it down in all big, half a brick of Brock Lesnar/ Sanford & Son, sellin' junkyard dog to my Aunt Esthеr"). But the haunted conscience beneath that armor is what makes Penalty of Leadership such a compelling listen. © Nate Patrin/Qobuz