A welcome return, Across the Meridian reaffirms that music is a little weirder and a lot more wonderful with Pram back in it--it's as if they spent the past decade globe-trotting a world of their own and returned with these brilliant vignettes as souvenirs for their listeners.

A few judicious cuts here and there and it would have been a very strong extended play instead of an uneven album that doesn't quite reach the level the duo attained on Hair. It's still worth checking out for fans either artist though, especially if their eccentric natures are their main attraction.

Evidently remaining under no pressure to assimilate with commercial R&B or even commit to traditional song structures, the musicians whip up another mixture of loose dance grooves and languid ballads. The effect is only a shade less stimulating than that of their previous LP.

Semblance isn't Forma's most consistent album, but their approach to rhythm is more innovative here than it was on their past releases, and their continued progression remains exciting to witness.

While a bit mercurial in nature, by its overall impression, How Many Times Have You Driven By is a grooving, otherworldly standout that establishes Vu as one to watch.

Thanks to its wandering nature, Cloud Corner is the kind of album that benefits from repeat listens, unspooling, shifting, and then settling a little more with each meditative revolution.

It's heartfelt and gutsy, performed without flash but with steely spirit, feelings that elevate Blow Your Mind above many of the other records in Johnson's solo discography.

A powerful tool for repairing a broken heart and indicative of an even brighter future, Lost & Found is satisfying and promising at once.

It is a music of sense and memory perceptions, a sonic projection equal to but different from the sources that inspired it. When all are assembled, they constitute a deep, mysterious, and occasionally disruptive journey into shade, texture, nuance, and seductive persuasion.

Deeper cuts like "Voices at the Window," "Floating on Water," and the ethereal closer "You Ought to Know" deal in more abstract vistas, delivering different hues culled from the same retro spectrum, resulting in something that has more in common with the spacy, neo-psych-rock emissions of the Flaming Lips than it does crusty ethno-doom metal.

At their best, Chromeo are a big, dumb party, the embodiment of guilty pleasure much like the cheesiest moments of the '80s hits they emulate. But a few choice songs, special guests, and Chromeo's studied arsenal of '80s signifiers can't keep Head Over Heels from growing tiresome, absent the hooks required to keep the party going.

Like Rae Sremmurd and Migos, these big-bass trap anthems owe much to their club-friendly vibe, but offer little in terms of substance or lasting impact.

One might reasonably expect that a more mature edition of Belly would seem less fiery than what they delivered back in the day, and the craft of this album is all one could hope for, but there's a bit too much drift and not enough clear focus for Dove to qualify as a true return to form.

Tim Wheeler--who produced the record on his own--is as much a craftsman as a songwriter, hammering out melodies and riffs, and his resulting tunes aren't fashionable, but they are sturdy.

While Middle Kids showed plenty of promise on their 2017 debut EP, Lost Friends is where they show they can make a proper album and actually improve on their bag of musical tricks, and it's a strong and engaging work.

Their Prime is an impressive debut from a group that has already gone a long way toward moving past their influences, and Jo Passed is clearly a band to watch.

One of the best aspects of The Return is how balanced the songs feel, weaving in bits of modern electronic dance and hip-hop flourishes as on the stuttering, breakbeat-infused "Catch the Loop," and the equally kinetic "Broken Theme." While The Return implies, and often delivers on, Williams' clear desire to recapture the plasmic spirit of vintage '70s jazz-funk, the album is less of a return to past traditions and more of a rebirth.

That Tanukichan have come up with an album that sounds original and true while bringing deep emotions along for the ride is truly something worth commending.

Blueprint confirms that album's excellence was no fluke, and as she approaches 60 years of age, Alice Bag is one of the most exciting and compelling new artists currently making music. Let's hope she has another album this good in her to make this a hat trick.

Another exhilarating triumph from one of the most original underground electronic artists.

K.O. is their most successful collaboration so far, and a flat-out thriller above all else.

Automata II can be listened to on its own, but it holds much greater power when taken together with its predecessor. It is easily the more musically adventurous of the two recordings, making it an indispensable part of Between the Buried and Me's provocative catalog.

Expressing grief, angst, and uncertainty just as loudly with a croon as a scream is no easy task, but Death Lust archives it masterfully.

Scorpion doesn't even come close to being one of his best; instead, it's a one-trick record stretched out into 25 endless tracks by an artist who's so deep into the self-obsessed, self-pitying rut he created for himself that he can't see daylight anymore.

All That Reckoning is a smart, compelling set of songs from a group that hasn't run out of things to say or the ability to say them with eloquence.

While HAIM, Amber Mark, Syd (of the Internet), Robin Pecknold (of Fleet Foxes) and Empress Of all contribute their talents to these songs, this is very much David Longstreth's music, and it's heartfelt, passionate, and beguiling in the tradition of Dirty Projectors' best work.

Ordinary Corrupt Human Love isn't going to change detractors' minds about Deafheaven. Instead, with its searing depictions of emotional and spiritual struggle in a relentlessly ambitious musical presentation, it should attract a new legion of listeners as well as deliver assurance and solace to those who found their earlier records so compelling.

Ultimately, the album's message is one of fearlessness and self-empowerment, and it's the most inspiring work Lotic has crafted.

Employing a handful of tasteful collaborators, including J Mascis, Dirty Three drummer Jim White, and the National's Aaron Dessner, who co-produced Passerby, Randall and Hassett have made a record that boldly turns a corner while still slotting neatly into their already sterling catalog.

The Switch serves as a potent reminder that experimental music isn't always cerebral. Transfixing, haunting, and lingering, this is some of Body/Head's most emotionally eloquent music.

Voids is yet another taut and lavishly detailed, yet never congested, set of productions that hybridize U.K. garage, dubstep, drum'n'bass, house, and techno, with an emphasis on the rhythmic friction of the first two styles.

While not as spontaneous or weird as some of Torske's other efforts, Byen is unmistakably well-crafted, and works on the dancefloor as well as a soundtrack for zoning out.

Adam Landry, who produced and engineered the project as well as playing guitar, bass, keyboards, and drums, has done a splendid job helping Morris realize this cycle of songs, and while one might hope Morris feels better the next time he decides to make a record, Dude, the Obscure shows that he gained something worthwhile during his journey through difficult times.

Not one of their releases is the same as another, and with Year of the Snitch, they continue to break boundaries and expectations. The record is another example of true experimentation with their sound along with an uncompromising work ethic and a thirst for originality.

As part of the Bees, Fletcher and Parkin helped make a lot of really good songs and albums. On their own, they went right ahead and topped their old band's catalog on their very first try.

RP Boo's style is a mix of experimentation and hard-fought confidence, and releases like I'll Tell You What! prove that the inventor of footwork is still several steps ahead of everyone else.

Bodega aren't doing anything new or unusual, as the easy-to-grasp reference points make clear, but they make it all sound factory-fresh and super-fun--and because of those two factors, fans of any of the bands mentioned above will likely find Endless Scroll quite worth checking out.

The Nude Party does everything right in capturing a certain irreverent spirit here, including emphatic vocals and catchy songs about not only war, but astral planes, record shops, and ignoring advice to get a real job.

Once again, Self Defense Family have created a work that reveals itself entirely on its own terms, and though Have You Considered Punk Music is often evasive, it still manages to draw in the listener, and it's an experience that's well worth your time.

This band is still crazy after all these years, and on Sixth House, they make their special madness signify, and it's a genuine achievement.

While it may not be any easier to make one's way through the distortion that James references, it is somehow easier to bear because of the empathy, joy, and contradiction in these songs.

Straightforward and relatably human, High as Hope may not be the rousing version of Welch from previous albums, but as a document of her personal growth, it's an endearing and heartfelt study of truth and self-reflection.

The record is good enough, and the band skilled enough, that even one year without a new album from them would feel like an eternity.

Davies still possesses a sharp eye and sly sense of humor, so Our Country has its moments, but they're moments, not songs, and they're overwhelmed by his clumsy dramatic pretensions, which are undone by his reluctance to tie his theatricality into an actual narrative.

Interestingly, the uneven moments on Vanished Gardens have more to do with the Marvels' reticence on the standards. Otherwise, the pairing of this band with Williams sounds natural, effortless, and holistic. There's definitely room for a sequel.

Both Directions at Once is truly a rare thing: an important discovery from the vault that's also a blast to hear.

Although nothing here may eclipse the original Appetite for Destruction, everything added to this deluxe edition enhances the album, offering proof of Guns N' Roses's immense skill while also illustrating how the band captured lighting in a bottle on their debut.

Their stylistic shifts never feel contrived, especially when the results are as stunning as "Cool & Collected."

Perhaps this doesn't make for a listen that's as wild or adventurous as its companion, but it's ultimately more satisfying, as the internal journey mirrors the evolution of the pop landscape in the 21st century. What was once a rowdy, colorful party is now a soundtrack for bittersweet solitude.

Wet Will Always Dry is yet more proof that he's one of the decade's greatest techno producers. Undoubtedly one of the best techno albums of 2018.

Free for All is a fascinating, innovative record that provides a fresh perspective on trap and other contemporary hip-hop styles.

Rather than chasing trends or aiming for reinvention, the Innocence Mission seem content at this point in their career to carry on doing what they do best and expand on their trademark sound with another fine release.

Across the album's 12 yearning songs, the performances not only breathe but seem to sigh in concert with the main duo, arriving at what is much more an expansion of their trademark sound than a renouncement of it.

That's a lot of songs about life and death, but The Blues Is Alive and Well has a lot of songs in general--a full 15, lasting well over an hour. This excessive length means there's a lot of room for levity, too.

None of these more pointedly thought-provoking [spoken word] additions detract from the overall flow of the album, and instead add to the overarching vibe of open-minded creativity, love, and empowerment.

As dark as Goldsmith gets on Passwords, he remains hopeful, even romantic, summoning images of Romeo and Juliet and "Cusack holding that stereo" on the tender love song "Never Gonna Say Goodbye." It's that bittersweet message of hope for humanity on Passwords that resonates the strongest.

Admittedly, his embrace of slick pop aesthetics, Rat Pack swagger, and cheeky turns of phrase can be a bit much on first listen. But that being said, when it's backed with a strong hook and just a modicum of earnest emotion, as on the sanguine club jam "Hey Look Ma, I Made It," it's hard to deny.

The rebooted Immersion sounds far more engaging than the project's original incarnation, which had a tendency to meander, and Sleepless is certainly one of its best efforts.

Rhys' words may be filled with dread but his music offers solace in its deftly executed songcraft and reassuring soft focus, which means Babelsberg can soothe the very emotions it stirs up.

While some of his eccentricities can seem affected. Perhaps these stumbles are the side effect of an artist dedicated to capturing all the mess of the modern world, and even if there are moments that grate or confound, there's still something invigorating about an artist who refuses to sit still.

Some of the band's finest music yet, to say that Kazuashita was worth the wait is an understatement; it's a timely, necessary expression of hope that also feels like a union of the new and the eternal.

While the album could benefit from some tightening-- the middle stretch stalls the momentum--Expectations affirms Rexha's songwriting prowess, ear for catchy hooks, and ability to pull emotion from otherwise serviceable radio pop.

There's a palpable sweetness to music that endures, even when a production is as bright and glistening as it is on Shawn Mendes. That bodes well for the future that Shawn Mendes is so evidently planning for.

Heaven and Earth is more a refinement of the ideas expressed on The Epic than an entirely new paradigm. There is less wandering, more focus, more inquiry and directed movement, as well as an abundance of colorful tonal and harmonic contrasts.

As the band looks back upon three decades of pain and rage, Reznor and Ross leave the sonic bread crumbs and callback allusions to the first two installments, advancing with fresh and surprising new possibilities for the coming era of Nine Inch Nails.

As unconventional as it is relaxing, Zebra is perhaps Arp's most inviting sound-world yet.

No Sounds ends up seeming a bit scattered, even by the Orb's standards, but it's still plenty enjoyable, and enough to distract you from the nightmarish absurdity of current events.

Sorpresa Familia is a portrait of a band that's grown stronger musically and personally in the face of hardship, and the wisdom and freedom Mourn display on these songs is the best revenge they could get.

As inward-looking as her particular brand of overcast indie rock can be, she possesses a relatability and a knack for crafting delicious earworms that render even the most painful admission or rumination a small joy to ingest, evoking the wry vulnerability of Phoebe Bridgers and the hooky pop acumen of Lucy Dacus.

Some tracks don't fully conclude so much as abruptly end, adding to the dis-ease and resulting in an album that is as compelling to feel as it is to listen to.

Bon Voyage shows that Melody's Echo Chamber is far from being just a Kevin Parker creation. Prochet's vision is her own, and it's strong enough here to fly free of any and all constraints.

There are not a lot of bands who do what Protomartyr does, and even if there were, the skill and fury of their music would still set them apart, and Consolation is a brief but potent reminder that they're a force to be reckoned with.

Whether it's the dawning of a new age of retro-looking records or a one-off blast from the past, Kicker is a welcome return and a raucous homecoming for a once great band that still has something left in the tank.

Like Stateless, New Bodies is vibrant and refreshing, brimming with ideas but never seeming overwrought, and challenging without being too esoteric or off-putting.

Girls Names do a very good job of keeping the drama, intensity, and twisted emotion in place while taking the music into darker, odder realms. It's pretty far from the poppy place the band started at, but their journey remains one that is very much worth following.

While it's unlikely that Bird Dog Dante will win him many new fans, its curious, intimate, casual approach will certainly appeal to those who have embraced Parish's earlier--and no less idiosyncratic--recordings.

Chaney's robust voice commands the room, deftly weaving between the intersecting lanes of vulnerability and raw power with remarkable poise, especially on standout cuts like "Dragonfly," "Roman Holiday," and "A Tree Grows in Brooklyn," the latter of which uses the "cockles and mussels alive, alive oh" refrain from the traditional Irish ballad "Molly Malone" to devastating effect.

With the fountain of material springing out of Newcombe's Berlin studio in the first part of the 2010s, the quality level has been rather hit or miss, but Something Else is a solid effort and somewhat of a return to form for the veteran band.

They haven't quite arrived on a focused, cohesive sound yet. They certainly have something to say about the state of London nightlife, however, and it's worth paying attention to their insightful observations.

Like Going Back Home before it, As Long as I Have You benefits from Daltrey's diminished range, as it adds gravity and grit to his interpretation. This album also benefits from its tight backing band, which is graced with a swinging horn section but distinguished by Townshend playing a secondary, sympathetic role to Daltrey, helping to give this muscular, occasionally moving record an air of grace.

The result is an impressive step forward, an album that finds Natalie Prass straddling the border between the future and the past, just as she promised.

Childqueen is a substantial accomplishment for Bonet, a cut above her debut, exceptional for 2018 or whatever year in which it takes place.

Kids See Ghosts is everything Ye wasn't, delivering a worthwhile listen in spite of the extended PR disaster that preceded its release. With Cudi as the yang to West's yin, the pair inch closer to finding peace and a light in the darkness.

Ye can feel uneven, sometimes boring, and more indulgent than usual, but it's a fascinating peek into West's psyche.

The truth is this sounds less like a 50/50 collaboration than a Joseph Arthur album with Peter Buck pitching in. Which is not at all bad, of course; as usual, Arthur's lyrics are bold, clever, and incisive, his vocals are passionate and reveal just the right amount of drama, and the melodies are strong, with Buck adding an extra spoonful of melodic bounce.

No Shame isn't a soundtrack to party. It's music for reflection, and coming from an artist who made snark her specialty, that's a step forward.

While Post Traumatic takes an emotional toll, it ultimately instills feelings of hope and the idea that things can get better. For Shinoda, Linkin Park, and their devoted followers, it's an effective group therapy session.

Certainly few, if any, bands of the era made an album as consistently great as Hope Downs. Not many in Rolling Blackouts Coastal Fever's era have, either. It's a small-scale triumph of hooks and guitars from a band whose members have figured it all out and delivered a debut album that comes as close to perfect as any guitar pop album can.

The greater flaw of Liberation is how its blend of R&B reflection and tense testifying doesn't seem to be an easy fit on any format in 2018. This weakness is also a strength, as it shows that Aguilera didn't take an easy route with Liberation: she instead found a hybrid between the personal and commercial, which makes the record resonate emotionally no matter what success it may or may not have.

At first glance, it's easy to underestimate Culture Abuse for the part-time slackers they present themselves to be, but there's a lot more to them than meets the eye on this satisfying second effort.

Both acts mesh perfectly with each other, and Mental Wounds Not Healing is a brilliant, seamless collaboration.

Carla Bozulich is a vital and fearless artist, and Quieter demonstrates that her muse can adapt to whatever fate throws her; this is fascinating music that merits your attention.

While not as immediately appealing as his prior releases, Nothing Is Still is clearly designed to be appreciated through multiple listens, and it's ultimately a work of considerable depth and feeling.

On Nightstand, she almost splits the difference, softening her tone but not abandoning the crunchy effervescence of prior albums.

Their sonic restlessness never falls off track into musical excess, but instead allows keen articulation of the plethora of identities found in non-Anglo culture, and denotes the places they intersect. Besides, you can dance your ass off while absorbing its coded messages. Bravo.

The Dock of the Bay Sessions is hardly essential for loyal Otis Redding fans, but as a compact summation of his final recordings, it's a fine collection that flows with the coherence of a "real" LP, and if you're looking for an album with "(Sittin' On) The Dock of the Bay," this is a good way to go.

An especially poignant return for Waterson, who endured a harrowing illness that left her in a coma after their last release as a duo, Anchor is a powerful performance arriving late in her career and is a testament to both her strength of will and creative voice. ... For her part, Eliza nearly matches her mother's earthen elegance as a singer while turning in some of the most natural and sympathetic fiddle work of her care.

Mien's experiments are sometimes a little too formless, but the album's standouts prove they weren't keeping all their best ideas for their main bands.