Post-punk bands tend to veer dark and brooding, but Dehd avoid that here, putting all of their energy into sunny anthems filled with dizzying coos, lighthearted hooks and charming rhythms. It all helps them bounce across the record and into our hearts for good.

His voice soulfully conveys the journey in all its deviations and obstacles unflinchingly while still providing listeners with the means to immerse themselves and bop their heads along.

The music feels traditional, yet modern and accessible.

Working with whimsicality as much as grief, Sparhawk reinvents himself, exploring inner landscapes and imaginary worlds, all while having a bit of fun.

Release definitely sees Pangaea staying ahead of the game, voyaging without hesitation into unchartered territories while keeping a foot in familiar UK bass strains.

While it's not as subtle or as elegantly constructed as Beast Rest Forth Mouth, this record has a kineticism and momentum that Beast lacked.

Not since Everything’s Fine has Quelle Chris sounded so surefire and determined. He wears beats with flair now, and lyrically he’s in top form, moving like a chameleon behind the mic and in front. Deathfame is easily the best solo outing for Chris so far.

What makes Collapse Into Now so satisfying is that it isn't a return to form so much as a realization that the band R.E.M. are now isn't necessarily a bad thing to be.

These tracks strut with a more upbeat cadence and disposition, without straying from the same earthbound concerns that marked Erez’s previous material.

Though Ventriloquizzing doesn't demonstrate the best the quartet have to offer, it's a perfect overview of their different sides, and proof that they remain one of our most consistently entertaining bands.

It’s both grand introduction and complacent victory lap; both urgent and laid back, all at once, constantly.

While the mixes on Manning Fireworks are studiously crafted, Lenderman’s presence largely enrolling, and his guitar acumen undeniable, the set’s overall gestalt is naggingly emulative. Lenderman, as compelling as he can be, rarely transcends the influence of his forebears.

The album still comprises some truly enchanting touches that could only have come from him, and often they appear when working around a vocalist. These pop turns envision a world where radio hits have a bit more depth and experimentation, and if Lopatin’s output can continue to minutely steer mainstream music that way, then so much the better.

The fact that this doesn't sound like a solo project at all is a testament to the success of its expansive vision.

It’s all put together under one roof in a neat, unassuming way, made refreshing and palatable by his persona.

The album, with all of its imperfections and warmly textured moments, feels well-worn and comfortable-despite its often acerbic lyrical habits.

The album is an alluring, heady mix of skewed folktronica, avant garde noise and opulent orchestral tones which combine to cement Eartheater’s place in every discerning music fan’s end of year lists.

While shame is less ecstatic than its predecessor, it certainly doesn’t find the duo of Megan Markwick and Lily Somerville holding back – there are a multitude more complex and tangled feelings to be unknotted here.

Without striving to be as overtly melodramatic as some of her contemporaries, Murray harnesses that desperation which Portishead's Beth Gibbons manages to pull off so well but by containing and internalising it, manages to offer a refreshingly navel-gazing approach to the pysche of the modern lover.

It’s fun, it’s furious, and just about anyone should be able to appreciate that.

Ultimately, Skullcrusher gives you a small yet satisfying taste of Ballentine’s blossoming internal world—it will be exciting to see where she takes us next.

Spencer Cullum’s Coin Collection 3, is not only uniform in its musical and recording concept, but in exceedingly strong and varied songwriting that establishes Cullum not only as a sought-after session man, but also as an exceptional solo artist.

Instead of wry irony or wallowing in hopeless abandon, Pale Horse Rider achieves something more like a fellow soul joining in on watching a fire in the distance.

With Transcendental Youth, the Mountain Goats have proven that they're more than capable of engaging us with even without the unimpeachable witticisms of their frontman.

The diversity is so vast and so well done that it’s almost commendable. Mainly though, it’s just a bit much for one sitting, and instead feels more like you’re listening to The 1975 radio on Spotify.

A solidly realized full-length record, Radio Red is a welcome addition to an already outstanding catalog.

It’s big, heavy, and worthy to soundtrack plenty of dancefloors. The only thing Ghost System Rave is arguably missing is the real personality from its creators.

Clocking in under 30 minutes with only nine tracks, Cool Dry Place is a lovely breeze of a listen, and truthfully, a nearly flawless record. Except for a couple of moments of autotune and lo-fi weirdness, Kirby generally plays it safe, musically, which leaves one wanting a tiny bit more from a talent like herself.