For a man on his 8th solo release now, Kurt Vile is going from strength to strength and makes classic rock palatable and catchy like the greats have before him.

Taste of Love is one of TWICE’s most cohesive and dazzling albums thus far. It’s fun, mature and makes a great contribution to our current pop-sphere with its retro-sonic aesthetics and escapist feel.

This time it feels more polished and detail-oriented than before.

Washed Out’s fifth album is a genuinely engrossing return to form, filled with memorable songs and flawless craftsmanship. A soundtrack for growing out of the past, and into the future.

This black abyss that Loop created is vast and infinite, and yes, even monotonous at times, but Hampson is shooting for the moon on Sonancy. He understands that it takes a rocket ship to get there – and those take time to build.

Totem is a challenging listen, but it's one of the most creative and exciting debuts I've heard all year.

Though the nature of Covers makes it slightly scattershot, and nothing quite hits the heights of some of her past covers, it is decidedly more engaging and diverse than her last album, the lowkey-to-the-point-of-disappearing Wanderer.

It may not reach the same creative highs or artistic wholeness of their previous releases, but in its own right, it can be just as enjoyable.

Be The Void matches guitarist Scott McMicken's clever lyrics, precise riffs, and quivery vocals to the rare glottal gift and intricate bass work of Toby Leaman in this jumble of freaky throwbacks, reflective ruminations, and spontaneous psychedelic bursts.

Letter To You may well Springsteen’s best work since 87’s Tunnel of Love. There are dips in quality in places on the record, but there is a general tone of a satisfied human who got out of the rundown places he always sang about to that bright future that was always over the horizon.

Leftovers may not offer that something she was after, but it’s an undeniably pleasing document of how a surrounding life of family, friends, and personal encounters is perhaps the thing that is real. Only time can turn them into something else.

It just runs over half an hour, but time slips away when you’re inside it, wandering about.

Phantom Island is a beautiful album that occasionally misses the mark lyrically. The album’s big sound and intense optimism offer a lot of brightness to take in. But anyone listening to a band called King Gizzard & The Lizard Wizard should not expect subtlety.

More variety would help his cause, but Holiday is a graceful, emotionally affluent debut.

PLUS is a more flagrantly weird collection of odds and ends, but perhaps a better microcosm of the flagrantly weird band that is Autechre.

Their new album, Mercurial World, is a careful collection of pop tracks that threaten, but never quite, reach a boil.

White Rabbits have made a record that is truly their own, so much so that at points it hurts the record.

Only on a few songs does the album bear some weak spots, the most obvious being “Here For Now, For You”; with its under three-minute runtime and lack of evolution, the song feels like an obvious breather. Overall, however, Johnson and company sound completely comfortable throughout The Pet Parade, as if they’re working from a home-field advantage.

It won’t draw new fans in likely, but anyone who’s been following No Age this far are bound to find something worthwhile here, and that’s precisely who the band made this record for.

Hardcourage is an exceedingly worthwhile release from a producer that’s constantly pushing himself toward new things.

With Ghostory, School of Seven Bells recovers with a newfound voice, still evokes everything they once were as dream pop dealers, but it's still extremely visible that they have more room to grow.

Norm plays with our emotions more than Wilds or The Neon Skyline did because Shauf’s writing from perspective of what could be considered a villain, and his impeccable storytelling takes liberties where others dare not.

These 12 songs are denser in their instrumentation and production than Hatchie’s previous work. ... Regardless, the album is still imbued with Pilbeam’s established touches of enchantment and sensitivity.

For the most part, Rad Times Xpress IV bubbles over with a love of over the top rock n roll that's impossible to not find endearing.

She’s carrying the weight of her experiences on her shoulders, but that’s not stopping her from enjoying the thrill of a new crush. She’s confident enough in herself to make the most of this, and every, moment.

Ritual is an enthralling album, highlighting a band flexing their musical muscles, trying to grow and add new sounds to their existing palette.

It’s not Blake’s most immediate album, and probably not his most consistent. But it might be one of his most honest, not because it says more, but because it leaves more unsaid.

Her work is pure naturality with all its contrasts and quirks, but also all of its beauty and intimacy. Her melodies, even at her most unusual, are inviting and engaging, making for a body of work with a disproportionally low entry barrier for how much it rewards attentive listening.