The supplemental voices are used to positive effect, whether they contrast with or echo Ejimiwe's plaintive surveillance of personal and societal ruination.

It lovingly invokes both the past and the future without fully submitting to either.

Unpeeled is a great live album that not only encapsulates Cage the Elephant's ability to honor, reference, and tribute the sonic feel of Zeitgeists past, but ultimately reminds you that all it takes is a simple song with minimal instrumentation about introspection, yearning, or internal struggles to still achieve a huge, soaring sound that makes the hairs on the back of your neck stand up.

Orc is another classic Oh Sees album that shows no signs of wear and tear anyplace in the operation.

It's an album filled with wonderful moments from the delicious grooves of "Evil" to "Mother Fighter's" entrancing hooks, and they only ever serve to deepen Shah's message.

Taken together, for its somewhat lofty inspirations and complex construction, Onism is above all a fun listen, full of discovery, whimsy, and musicality. And it's got a good beat.

From the fiery punk of standout "Lower Worlds" to the haunted "Ornaments of Empty," Rainer Maria sound confident and on point, putting their changed selves into the task of deepening their already rich catalog with this comeback gem

A lifetime away from the Long Island quartet's emo and pop-punk origins, Science Fiction is a complex and nuanced beast of introspective indie rock and detailed production.

All these nods to the past make Invitation seem cozy even when its words are defiant, and if that seems dissonant it also seems appropriate for 2017: outrage can be exhausting, so it's good to find solace in old friends.

Seekers and Finders is as riotous, poignant, and fun as anything by Gogol Bordello; that said, Hutz's raw production is a closer reflection of the band's live sound.

These soft, slow songs are surrounded by cuts where the darkness opens up slightly but significantly. It's enough to make Sleep Well Beast feel like a dramatic departure in the close quarters of the National's discography.

The approaches, from improvised noise pieces to concise electronic pop songs, are almost as numerous and far-flung as the represented outposts. A significant portion of the tracks appears on compact disc for the first time.

On All We Know, PVRIS take a crucial step on the right course toward finding their own trademark sound.

Music for People in Trouble is rooted in empathy, and even at its most cynical--the woebegone "No One Believes in Love Anymore" comes to mind--the warmth of its core radiates outward.

American Dream isn't just a triumphant comeback, it's another great album by a great band.

It may not pack the same sonic punch as their early singles, but it has an overall more interesting sound, and the hard-won wisdom and feeling Berman injects into the songs now means that the Pains have transcended their struggles to find a sound, and have truly arrived at last.

Mountain Moves' whimsy often feels like a party that just happens to be political, but it's this sense of joy that makes protest--and Deerhoof's career--sustainable.

A deeply comforting album, Okovi is some of Zola Jesus' purest-sounding, most profound music in years.

Endangered Philosophies is another triumphant, socially relevant album from the masters of industrial shoegaze hip-hop.

With the sheer amount of voices that casually pop up on its 17 tracks--the cohesive vibe and swaggering passion make it a fun listen for fans of any of the two-dozen artists showing off their skills.

Richly layered and emotive even by Hercules & Love Affair's standards, Omnion is equally committed to moving hearts and bodies.

Nobody on the album overshadows Price, who sounds as forceful, commanding, and even as funny as ever.

Ultimately, Mount Kimbie strip away any musical excess on Love What Survives, and leave raw vivid emotion.

This is a fantastic, highly creative set which maintains the recognizable Ekoplekz sound while still sounding new and different.

A late-summer bonfire of an album, Expect the Best proves once again that when it comes to hazy introspection and reflection, few bands are better at it than Widowspeak.

Native Invader stands tall with its own vital voice and energy, alluding to beloved touchstones from throughout Amos' oeuvre while remaining fully of its time.

While The Physical World was a stunning comeback, this album cements Death from Above's place as one of the great rock bands of their era. It's a vital document to wave in front of anyone who says rock is dead, because one listen to any DFA song is enough to prove that argument DOA.

Southern Blood is almost perfect; there isn't a better final album Allman could have made. It belongs on the shelf between 1973's Laid Back and the mysteriously withdrawn but amazing One More Try: An Anthology.