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.

While the bulk of Underworld is immediately enjoyable, there is a lot of material that is ultimately unmemorable, despite a handful of key tracks that serve to satiate until the next release.

While the feisty, Imagine Dragons-meets-Twisted Sister vibe remains their forte, it's Vale's pop proclivities that ultimately win out, suggesting that future endeavors may rely less on fighting the man, and more on working alongside him.

If he sometimes sounds like he leans too hard into his rasp, this vocal tic is mitigated by those songwriting skills and the supple sound of Cobb's production, elements that turn Encore into a minor gem.

Traversing a wide range of moods and textures, World of the Waking State is a highly introspective work, perfectly suited for late nights spent lost in deep thoughts.

It looks like they were having fun, but sounds slightly less so--overall, it's clear that no one here was expecting to blow the industry apart; instead, they sound content just making music and recording the experience.

Ultimately, while it takes on big-picture perspectives and complicated emotions, Mount Qaf is a feel-good release whose hooks and invigorating spirit may be its most powerful takeaway.

Even if Piteous Gate was more abrasive overall, Hesaitix ends up being more challenging, never giving away any easy answers and causing the listener to listen deeper.

Regardless of a stumble or two, Asking Alexandria is well worth a listen. While The Black was a passable offering at a time when it seemed like it would be a permanent arrangement, this reunion simply feels right.