Whether they're sophisticated or visceral, Shame's energy and confidence makes Songs of Praise an exciting debut from one of the most vital-sounding British rock bands of the late 2010s.

Even with thirty-plus years behind them, Corrosion of Conformity can still reach the nosebleed seats without sacrificing any integrity. It may all feel a little familiar, but it still burns going down.

All in all, Between Two Shores is an effort that will please his fans while showing he's still learning new tricks in the art of record making, and he's putting them to good use.

A skillful debut by musicians with notable prior credits, they've settled into something intriguing and distinct out of the gate.

The Limiñanas sound like they're too cool and nonchalant to even have a phone, much less use one to make a less than great record.

While Cook's credentials are undeniably impeccable, they don't outshine her talent, and she just keeps getting better.

Could It Be Different? is an exhilarating album that hits hard on the emotional front while making sure to move feet at the same time. It's a small step up from their previous works, with stronger sounding and with sharper hooks that help make it even clearer that the Spook School are one of the most exciting and important bands of their era.

Kacirek and Müller are credited, but it's difficult to discern their contributions to the piece. The title All Melody seems to refer to the singularity of the sounds combining together. It also suggests that while empty space is often a major element to the album, what is present is entirely melodic, and purely based in emotions.

Dream Wife have seized a certain energy that is undeniable and--despite the myriad inspirations and easy comparisons--feels so fresh and alive, enough to make their trailblazing influences proud.

It's art with a beat, noise with hooks, and more proof that No Age are one of the great slept-on bands of their generation.

Much of the time, Freedom's Goblin plays like Ty Segall's version of the history of rock & roll as seen from his perspective, and it's as idiosyncratic and exciting as you would expect. It's also some of the very best music Segall has given us to date, essential for fans and strongly recommended to curious newcomers.

While this sounds like it could be an impossibly tall order, or something that requires an encyclopedic knowledge of music just to listen to, the band achieve a remarkably, almost effortlessly cohesive sound, and it goes down much more smoothly than one might expect.

More nuanced than previous releases but recognizably brand-related, Marble Skies is another win for Django Django.

Accessible and friendly yet highly profound, Vision Songs is a truly uncommon work, and easily one of Laraaji's best.

Exploring new directions with experimental confidence, an ever-playful BØRNS takes the necessary steps in artistic maturation on Blue Madonna, a worthy and satisfying follow-up for the mischievous Lothario.

This Is Glue ends up a clear improvement over the band's debut and something worth recommending to fans of classic jangle pop and anyone looking for some catchy indie rock to help them break free of all the bands that seem content to just cruise along in low gear.

The release is best summed up as stream-of-consciousness bubblegum pop, seldom committing to an idea for very long, but still maintaining a driving sense of excitement.

Earthtones is a refreshing, playful set that hits a sweet spot between classic smooth soul and Jurvanen's pensive soft rock.

Even when the Johns' sentiments are morbid, I Like Fun's music seizes the joy of the moment.

A vibrant album that explores the political and cultural tumult of the late 2010s with anthemic heft and individualistic perspectives.

The House reinforces Porches' standing as a distinctive voice in a crowded field of wistful D.I.Y. indie electronica.

While some older fans who haven't kept up with Buffy Sainte-Marie's work from 1992's Coincidence and Likely Stories onward might be surprised by the sound and spirit of Medicine Songs, this music leaves no doubt that she has no interest in aging gracefully; at 76, she's as fierce, aware, and committed as any artist a third her age, and these tunes speak to the madness of 2017 with a stunning clarity.

While the album is integral to its predecessors as part of a loosely conceived and articulated musical trilogy, it stands on its own as an exercise in close listening, careful communication, and quiet revelation.

The result is another eclectic, iconoclastic record that doesn't sound like anything else happening in the world. That the Go! Team can sound as fresh and inventive on Semicircle as they did when they started is an impressive, almost miraculous, feat that defies nature and defines triumphant joy.

Ruins is never complacent, though, keeping its rough, rustic edges, and allowing for the sounds of fingers on frets on quieter tunes like "To Live a Life." Lyrics don't put on a false front, either, and that's ultimately what makes the album linger.

The tones, timbres, and sounds that draw listeners to this type of music are all there, but as a whole, Jaguwar struggle to establish their own voice on this debut.

On Wrong Creatures, it's refreshing to hear a band so wrought with spiritual and emotional demons find their rock & roll grace and let it rip.

Along with the aforementioned "Havana," these [Latin-inflected songs] are easily the most potent songs on the album, and showcase Cabello's effusively resonant voice and playful charisma. Admittedly, the album leans a little too heavily on ballads and midtempo acoustic guitar numbers that work against the vibrancy and momentum of the Latin tracks.