Metalmania is a strong album, definitely full of promise and quite a few songs that wouldn't sound out of place on a playlist with classic Flying Nun tracks.

Numerous proven mixtapes help set Ty up for an easier introduction than most, but Free TC tops all expectations, as the man conquers the club, the bedroom, and the brain with this end-to-end stunner.

Where The Outsiders was designed to dazzle, Mr. Misunderstood is built for the long haul: it settles into the soul, its pleasures immediate but also sustained.

This LP will no doubt please listeners with an ear for more astringent experimentations, but for the most part, it seems like Rats on Rafts have drifted a bit too far into their own ambitions at the expense of their songs.

Crosswords is essentially outtakes from PBVSGR (with one cut left over from Tomboy), and while it's clearly more of the same, it's an enjoyable, compact dose of chilled, effervescent electro-psych-pop, and it functions as a handy reminder of how far Lennox has come as a songwriter.

Throughout the album, Kylie sounds very game, merry even, and there's enough holiday spirit on offer to help even the grinchiest customer make it through the season with the bare minimum of humbug.

The joy TRAAMS have in pulling their songs taut and then letting them fly--an approach that shines particularly brightly on "Bite Mark"--is more palpable than ever on Modern Dancing, and the fun is infectious.

While he's inexplicably fond of a synthesized choral effect, for the most part this album sounds clear but homebrewed at the same time, with charm making less of a sacrifice on fidelity.

Most recordings of lullabies are long on charm and short on substance, but the Wainwright Sisters have made an album that will suit a thoughtful mom or dad as much as a restless youngster, and Songs in the Dark is something special from two remarkable talents.

If Thomas set out to prove that Rocket from the Tombs is his idea and he can reassemble the components at will and still make it work, Black Record does just that, and suggests this project has a livelier future than most anyone would have imagined.

The rest of the album shows a knack for songcraft and dramatic arrangement that could only have come from learning from the past and forming it in her own very specific way.

Going by the level of potential shown here, it's evident that Cara will eventually need a lot less creative assistance.

Combined with schizophrenic production (Evian Christ, Boody, Balam Acab, Lunice) that leaps from horny trap to frantic electroclash, Riot Boi overwhelms with twists, turns, and surprises, all of which are exhilarating.

Paper Mâché Dream Balloon is about as straight as King Gizzard are ever likely to be, and it still totally works thanks to the high level of songcraft and their innate weirdness, which will always come out no matter how hard they may try to keep it under wraps.

Nothing on Aquaria seems out of place, but each song brings something new to the party.

As dense as R Plus Seven was cleanly sculpted, there's a lot to unpack within Garden of Delete, including its title: a phrase that suggests the meticulous task of editing music as well as the union of creation and destruction (and shortens to G.O.D.), it's the perfect mission statement for an album that combines past and present in surprising, and surprisingly organic ways.

While First Comes the Night doesn't break any new stylistic ground for Isaak, it also doesn't hurt his reputation, and deftly reinforces his image as a glamorous, charming torchbearer for traditional pop songcraft.

The breezy Isley Brothers/Free Design hybrid "Race Against Time," the perseverance anthem "Music to My Soul," and the disco-soul/soft rock compound "Better Late Than Never" are all decked out, and are among Green's craftiest work.

Montage of Heck largely doesn't consist of early drafts; it consists of scrawls waiting to be turned into a first draft. While that's interesting for a while, at a certain point--and it arrives rather quickly--the fascination curdles and it's hard not to feel unclean, as if you're snooping through your beloved brother's desk.

Their songwriting shows growth, their vocals remain flawless, the production team continues to throw the occasional curveball to go along with the softballs, and there are plenty of songs that sound like the best pop music has to offer in 2015.

A bumpy, oddly compelling restart, Purpose should hook open-minded pop fans who previously paid him no mind, and it could even win back some of those who wrote Bieber off years ago.

At 32 minutes, Alone in the Universe is remarkably devoid of excess--notably, it's just five minutes longer than his breezy 2012 covers album Long Wave--but it doesn't feel shrugged off, nor does it feel especially attached to its time.

As a composer, singer, and sound sculptor, Hausswolff is in full control on The Miraculous, balancing harshness and intimacy, heaviness and airy melancholy. It's an uncompromising view, but it's also welcoming.

All in all another strong outing from the Newcastle band, it dwells in a cloudy blend of dreams and creeping nightmares, unsettling yet captivating.

Even during his '90s heyday, he looked over his shoulder while living in the present, happily threading in trends while seeming impervious to them. This skill is difficult to acquire but Damn Country Music, like so many other Tim McGraw albums, makes it seem as simple as breathing.

His pleasantly cracked voice is supported by plenty of rich harmonies and the mellow organ and guitar tones give the record an inviting, organic feel.

Ork Records: New York, New York is a superb evocation of a vitally important time and place in American rock & roll, and it's fun, eclectic listening to boot.

While the collection doesn't come with the purposeful feel of Donuts, it flows extremely well for a beat tape, and one released nine years after the artist passed.