Another evolution in the way Preoccupations bring poetic soulfulness to post-punk, New Material lives up to its name--it's not just another batch of songs, it's a fresh approach that feels like a breakthrough.

Rather than showing the humble beginnings of an experimental band, this album highlights the fact that, even from the very beginning, they were the enigmatic and impossibly heavy group that they are today.

Black Bubblegum isn't the type of sprawling, messy platter of rhythmic noise that one might expect from Copeland, but it's still wacky in its own way.

The material occasionally slides backward, from subtle and reserved to nearly featureless, but it's as clever and almost as charming as Sensational.

The name Psychedelic Horseshit is more accurate than ever, as they truly sound psychedelic for the first time, surrounded by wild soundbursts and shiny musical squiggles that would probably be called "horseshit" by most mainstream rock fans...In a way, it's perfect. A perfect mess.

This is indie rock where the big hooks and bold arrangements never get in the way of the complex emotions at the heart of these nine songs, and that's why five years isn't too long to wait for music this special.

Its freshness proves that ten years after their 2004 breakthrough, the band is as lively as ever and, in some sly subtle ways, better than ever too.

This debut EP is a deeper, meatier experience than expected, going as far as to be a conceptual release focused on relationships.

Everybody Looking is one of the best examples of Gucci Mane's contributions to rap in his highly prolific catalog.

Clocking in at just under 35 minutes, Sorcerer's willfully lo-fi, exploratory jam session architecture is pretty digestible, which makes the occasional sonic detour much more rewarding.

Born in the Echoes is an excellent mash of familiar and vanguard, the very same formula that lifts all the duo's best albums above expectations.

Even if it isn't as dynamic as its predecessor, at the very least Ullages reflects that Eagulls can do more than rant.

There's No Leaving Now succeeds best when he breaks out of that mode of one enjoyable enough ingredient constantly reused, or at least tempers it more thoroughly than at other times.

Everything on In Case We Die, from the intensely sweet melodies and vocals to the widescreen production, delivers the kind of playful pop majesty that Fingers Crossed's best moments hinted were within Architecture in Helsinki's grasp.

It's proof that while many try to emulate him, there's no substitute for the crankiest, funniest songwriter in pop.

Heydays is a surprisingly mature, accomplished second effort from a group who previously might have been perceived as a joky side project.

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.

Subtract the handful of tracks that fall into this category [come off like bad imitations of Drake or the Weeknd] and what's left is a fun, very well-crafted EP of uplifting dance music, the best Bear has made yet. Add them back and the record ends up a very mixed, somewhat disappointing bag that takes Toro y Moi to some exciting new places, but also treads familiar ground.

Mellow, multi-purpose country-pop designed to soundtrack good times at home, on the road, at the office, or at a bar.

There's a warmth to Up and Away that does suggest analog, with help from plenty of dreamy reverb and additional acoustic textures like Arabic stringed instrument the kanun, which serves to amplify the album's cosmopolitan flair.

Thankfully, there's a pleasing flow and emotional arc to the collection that draws you deeper in the further you go, in much the same way that Smashing Pumpkins' most beloved albums were such all-encompassing experiences.

It may come to define or utterly transcend metal; but it doesn't matter because this album is in its own class. Anyone remotely interested in heavy music needs to encounter Aesthethica at least once.

Highway Songs encapsulates Pajo's life experiences into a poignant travelog, and considering all that he's been through, it's a life-affirming work.

It's more of a proper album than Loose Fur itself was, but having fun making music together still sounds like the main priority on Born Again, which, once again, also makes it a lot of fun for Wilco and O'Rourke fans.

The songs are carried with energy and control, and even while the influences can be glaring, Gentle Grip is so well constructed -- and so fun -- that it stands on its own.

At times Give Me the Future feels a bit heavy-handed. Fortunately, the album's brisk pace saves it from feeling overblown. This is music for and of its moment, with a mix of ambition and pop concision that's unmistakably Bastille.

There's plenty good here, that's undeniable, but the album lacks the spark to push it forward and place it at the top.

Even as the guys stretch and flex their songwriting muscles, they never fail to remember where they came from, instead using their past work as the foundation to their essential growth.