They've emerged from a quagmire that could have ended the band and ended up writing their tightest album yet.

It doesn't matter that Out My Feelings (In My Past) runs 18 tracks long, as Boosie Badazz is on point the whole way through this dark yet empowering album.

Anyone willing to make the leap with the band will find that the adventurousness and exploration displayed by all involved pay off with yet another impressive Woods album to add to their collection.

Brilliant Sanity's musings on uncertainty are some of their most confident songs yet.

The Peace & Truce of Future of the Left is one of their most roaring dissents against the increasingly frustrating state of the world in the 2010s. Of course, this band is angry even when it isn't fashionable, but even so, this is some of their most cathartic music in a while.

With more life, richer texture, and an inspiring attitude, Beautiful Lies is Birdy's declaration that she is more than able to make her mark in the big leagues and join the ranks of the alternative pop pantheon.

There are times when A Sailor's Guide to Earth threatens to float away on a slipstream of strings and melodies that are heartfelt and hookless. Even at these moments, his ambition remains ingratiating: he might not quite arrive precisely where he intended, but as he makes it so clear throughout the album, what matters is the journey itself.

A fascinating open-ended audio experiment, Felder is an unpredictable album that pushes the limits of technology and composition.

Though Psychic Lovers sometimes feels a little labored, it proves that the seemingly accidental brilliance of Dinner's earlier music was anything but.

Focused without sounding rigid or confined, Ears is imaginative and alive.

Love Letter for Fire sounds like Beam and Hoop were born to work together. The yin and yang of their individual perspectives fit together marvelously, and this rests comfortably with the best of both their recorded works.

His songs are resonant with the weight of experience, and his musical settings, even in their relative sparsity, are powerful and at times nearly elegant.

With the canny assistance of Henry's sensitive production, the songwriter's vulnerability rises into open view and elevates his craft along with it. In Carll's world--and hopefully ours--love wins no matter what.

The match of songs and sounds on Singing Saw delivers on all the promise of his earlier records, while firmly establishing Morby as one of the best singer/songwriters going.

A thoroughly delightful album, it's hard to imagine fans of Jóhannsson and Dunckel's other projects not falling hard for Starwalker's charming galactic pop.

Oh My Goodness is informal and intimate, but with enough grit and groove to make it a joy. Given its quality, one hopes that Fritts will record again, and soon.

Take All My Loves: 9 Shakespeare Sonnets reaffirms that the songwriter/composer is an arranger at home in many styles, with the ability to make this kind of sprawling, genre-surfing project unfold with elegance.

All their records to this point have been really strong; Malamore is where they make a grab for brilliance.

As far as sophomore efforts go, Greys have stepped up their game considerably.

Even if Nocturnal Koreans' sound isn't always textbook Wire, its imagery and wit most certainly are, making the album much more than the collection of leftovers its origins might have suggested.

The Ship is a memorial to and meditation on history and human foibles. Just as importantly, it places an exclamation point on Eno's career as curiosity, experimentation, chance, and form gel; his relentless sense of adventure remains undiminished by time.

With this solid album, he ain't the A$AP Mob's second banana anymore, either. Cutting-edge production from Clams Casino, Lex Luger, Cashmere Cat, and DJ Mustard help him get the job done.

Odd as it seems, the majority of the track titles resemble those of an R&B release. That's far from the only feature in support of the notion that Too Many Voices is Stott's brightest and most open-hearted work.

King Gizzard's inventive sound, giant hooks, and hard-as-titanium playing make Nonagon Infinity not only their best album yet, but maybe the best psych-metal-jazz-prog album ever. That can be debated, but at the very least artists like the Flaming Lips, Ty Segall, and others who think they are doing something cool and weird should check it out and take a few notes.

In some ways, this feels like the album Susanna's career has been building toward; her music has always united the heart and mind, and she does so with striking creativity on Triangle.

The album sounds as billowing and ethereal as one would expect from a solo harpist, but Lattimore's sense of experimentation gives her a distinctive sound, and At the Dam is simply a magnificent album.

Overall, there's nothing very slick to be heard. Like they did on the excellent Feast of Love, Pity Sex do a great job of balancing noise with melody, using both in equal amounts throughout the record and always making good use of shoegaze's standard loud-quiet dynamics.

Everything at Once is their liveliest and most lighthearted effort to date, a celebration of both their legacy and their maturity.