The Wake signals a new chapter for Voivod; they stand (again) at the blade edge of creative imagination and visionary execution in the world of extreme music.

Claustrophobic yet adrenalized, Another Life is a goth-rave nightmare transmitted from an apocalyptic future.

Autobiography is unquestionably a vast step forward for Jlin, further confirming her status as a visionary artist. If it wasn't obvious already, following her long, illustrious career will be tremendously exciting.

Quiet River of Dust feels like its own celestial event, emitting frequencies both familiar and alien; Eastern philosophy-tinged pagan space folk devoted to gods both old and new.

Sometimes the sounds feel a little too alien to decode, but when production spirals out of control for a moment, part of the appeal of 1 Time Mirage is listening to the production team reign their wild creations back in.

The result is a bracing expression of visceral emotions that refuses to go the easiest, most comforting route, as well as the most focused Sumac album yet.

Simply put, (After) is another brave and beautiful document tracing how Elverum's sorrow and love continue to change shape.

Altogether, The Hex is a complicated record of a period fraught with loss and psychic struggle for Swift, and its beautiful, twisted lyricism and memorably stylized sound rise to the occasion.

The songs are definitely there, Phillipps' wonderfully light vocals are as strong as ever, and the sound is a perfect example of how to make a record that sounds as big as a stadium while still being driven by real emotion.

MITH is the most powerful album yet from a truly inspirational artist who deserves to be acknowledged as a national treasure.

As a whole, there is plenty of growth, craft, and quality songwriting here even if the approach is more polite than it used to be.

Metric synthesize the stadium rock of Fantasies, the moody hookiness of Pagans in Vegas, and the new wave spunkiness of their early albums into something that's recognizably their own, instantly memorable and one of their best overall albums yet.

This is the sound of a working band locking in on their groove.

As fine as Didn't It Rain was, This Too Shall Light better illustrates the diversity and power of Helm's abundant talent.

Some of the band's most entertaining and most challenging music, >>>'s eclectic experiments prove that the greater-than symbol at the end of Beak>'s name isn't just for show--they keep pushing forward, and it's thrilling to go along on the ride with them.

The Art of Pretending to Swim is a strong example of how one man with an unlimited number of tracks to fill can create a compelling and revealing collection of songs. If this doesn't always sound like what one would expect from Villagers, its emotional impact shows that it's clearly O'Brien's work.

A triumph, Chris reaffirms just how masterfully she engages minds, hearts, and bodies.

Unlike Summertime: Willie Nelson Sings Gershwin, Nelson's limitations aren't a hindrance, and the arrangements aren't excessively polite, which means My Way is an appealingly light record: it's performed with more affection than reverence.

This three track set is a casebook on the nature of true collaboration; everyone here places himself at the service of music made in the moment from mutally assured trust and goodwill; it sparks creation at every turn. God knows we need more albums like this. what an unexpected pleasure.

Unlike latter-day ZZ Top records, which are occasionally weighed down by the band's considerable legacy, Big Bad Blues feels light and free, an album that was made because Gibbons wanted to have some fun and that feeling is not only palpable, it's infectious.

Besides continuing a trend toward more structured and, at least relatively speaking, more subdued material, it also sees Hernandez step back as frontman for their most democratic effort yet.

Incorporating varied delivery and production, TA13OO taps into his established style, which combines aggressive trap with rapid-fire bars ("Sumo," "Super Saiyan Superman"), while also adding smoothed-out hip-hop atmosphere and patient vocal restraint ("Sirens," "Cash Maniac"), which was only hinted at on Imperial's throwback gem "Zenith." TA13OO is split into three sections--Light, Gray, and Dark--and delves into introspective self-examination and unflinching social commentary that tackles politics, sexual abuse, and mental health.

Joyce Manor may still be finding their footing in this more mainstream rock field, but there's a lot to like on Million Dollars to Kill Me, indicating that they're moving in the right direction.

The whole affair plays like the listener is eavesdropping on Prince creating, and there simply can't be a reissue more valuable than that.

Throughout, Thug injects his distinctive presence when necessary, pulling the best out of the YSL crew and serving as a tasty sampler of their individual talents.

A celebration of the duo's music, Woman Worldwide rewards fans who want to delve into its musical connections as well as those who want to get lost in its momentum.

To the Sunset isn't splashy: it's handsome and layered, alluring upon the first impression but revelatory upon revisits.

Twenty-five years after their debut, they still retain that power, while finding ways to surprise within their firmly defined style.