Although there may be a few too many half-baked ideas thrown around, as tracks like the hollow "Ujala" and the clunky "Bushy Bushy" demonstrate, 808 State nonetheless come off focused, confident and delightfully wistful on Transmission Suite.

The eight exploratory tracks make VOLUME MASSIMO an instrumental masterpiece that adds to an already incredible body of work by the gifted and skilled composer. If anything, it's too short.

Grandiose in its bite, depth and soul, Champion lives up to its name.

A Blemish in the Great Light is endlessly listenable. Because it is so complex, so wrought, it loses an overarching feeling to hold it together, something that might help it read as a whole, as opposed to good songs that are very well done. It'll be a great album to drive to.

Both his darkest and cheerful record to date.

Thanks for the Dance is a fitting goodbye to a figure who, whether they've been in your life for one day, one year or a lifetime, made a tremendous impact on their craft. A beautiful reprise to a song of love or hate. The pleasure was all ours, Leonard.

He masterfully delivers a snapshot of a disjointed, vibrant and inherently flawed system as seen through one of electronic music's longstanding visionaries.

It's a beautifully understated album with subtleties that reveal themselves on repeat listens. Hyperspace isn't quite what fans would expect from a team-up between Beck and the guy who wrote "Happy," and it's better for it.

While the sound splashed across Wrecked is quite gripping (exceptionally gritty electronic that heavily works the industrial angle), the lack of distinction within, and contrast between, tracks makes it tough to get behind.

That precarious balance between surrealism and sweetness, adept contributions and singular vision, and much more make I Made a Place feel like a must-visit destination — it's one of the best alt-folk albums to come out in years.

Amnioverse does still err, at times, on the side of industrial and abstraction, but is anchored in a softness rich in texture and weighty with emotion.

The remarkable feat of New Ways is the ability to both resonate with those who loved Twin Solitude, while also pushing tendrils out towards listeners in search of more versatility.

It all adds up to a cycle that is as complex as it is direct at times, describing the imbalances between moments of lucidity and desire, and what is lost or gained when one declares "let's get out of the romance."

Analog Fluids of Sonic Black Holes does not always work, but in the moments where it does, it is bound to sit in your stomach for a long time.

The quality of musicianship, lyrical content and melodies on What You See Is What You Get marks one of the top calibre country albums of the decade.

As a debut, it's undeniably a solid effort, although one that might be lacking in memorable surprises. It never reaches the highs of their hypnotic sets, but it's certainly a worthwhile listen nonetheless.

Both a departure from the expected modern/postmodern/future-possible sound he is usually credited with, but also an arrival at its very beginnings.

The only real drawback is that the album lacks the intrigue surrounding something as adventurous as their previous album. Daemon still has a lot to sink your teeth into, and fans of black metal and Mayhem should not miss out on it.

The intent, execution and expression is pure. But the ominous feel of the entire project overwhelms, in parts, with a forlorn sense of distance and dread — which appears to be the point — yet its subsuming sense of femininity, sexuality, free will and determinism paradoxically draws us in.

The album is a gem. Preemo lovingly wraps brand new Guru verses (new even to him) with his trademark production, earmarked with his iconic scratch choruses, without missing a beat.

This project, as conceived by the artist, wraps itself in an Afro-futurist stance, an approach to neo-soul that feels right at home played next to the sounds of FKA twigs or Solange. But Sudan Archives still has room to grow while she defines her sound.

Wildcard represents courage, strength and vulnerability as Miranda tells her story. The album is a timeless snapshot that measures a moment in this superstar's life.

Myths 004 is a feat of atmospheric storytelling that keeps us on our toes.

Anxiety, anguish and unrest can often produce great art, but so can spiritual harmony. It's just a shame that in the case of Turnover, contentment sounds so bland.

Networker is like a clock; it never hesitates or loses its pace, and it's constantly ticking. Yet the record feels unhinged, wily and obscure — as if the clock is hanging so askew, it might just fall off the wall.

As rich and resonant as some of these synth tones are, it's ultimately an album that's more conceptually interesting than it is musically appealing.

Followup Hello, I'm Doing My Best offers up more hook-filled, crisply produced radio rock with plenty of grit and soul from Barter, who remains a compelling presence throughout.

Guv I [was] an all-around more solid record, making Guv II feel a bit more like leftover parts than an essential second act — but Cook's knack for songwriting is nonetheless clear. At the very least, this sequel is an extra show of musical prolificacy and a good portfolio-stuffer with which to chase more work as a hired gun.

Sweating the Plague shows Robert Pollard achieving the near-impossible; stringing together a steady decade of such strong material this late into his band's career.

"The truth is, I'm good at this" she recently told Exclaim!, and Cheap Queen certainly backs that up.

Some songs stick to the usual anarchic ideas, "The Hanging Man" being a tasty cut worthy of inclusion on any forthcoming Best Of, but there are also introspective nightmare-lullabies like "Annaline," "Amnesia" and "Cathedrals of Heaven." ... Easygoing suits Gira.

The biggest strength of Up On High may be its greatest weakness: it's a record that is exactly what it is trying to be, a folk rock album that feels so much like a folk rock album that you forget about it as soon as it ends. Vetiver's latest is an album that you can put on and not think too much about.

It could have been much better. Kanye's foray into gospel should have been a heavenly experience, but it's half-baked, incoherent and ultimately falls short of godly.

The tracks on Spiritual Instinct feel somewhat monotonous, comparatively, since Alcest rarely pull back the reins to accentuate the diversity of their (typically) expansive sound.

[An] energized album, full of unexpected twists and forked, enchanting melodies.

Anicca is an album that stands alone, reaching above and beyond expectation.

Black Marble has seen a massive development with Bigger Than Life. Whether the record has proven itself to acutally be "bigger than life" is up for debate. But for Stewart's third LP, it's a solid effort and pleasant change of pace.

This EP is more sketchbook than fully realized piece of art, a placeholder between full-lengths designed to keep the band in the cultural conversation.

Anthropocosmic Nest is full of loud blasts from the Messthetics, but it's also dynamic, revealing a patient, thoughtful approach to songwriting, which, beyond exhibiting the band's musical proficiency, is a real signifier of genuine friendship and trust.

Kiwanuka is therapeutic for all parties involved. It's honest, psychedelic, enlightening and recalls blackness defined by acoustic folk and the organic soul of past artists like Gil Scott-Heron, Bobby Womack and Otis Redding.

Those who go into this expecting more of the visceral and mind-bending productions that added to the novelty of Varmints might be disappointed, but listeners with no expectations are bound to be pleasantly surprised.

The three distinct movements on display lead into each other, as if in a singular narrative.

Cry will make you cry, because Gonzalez knows what he's doing. It's cathartic, stunning, it'll awaken your senses and it's not to be missed.

Colorado makes good on Young's promise that rust never sleeps — turns out, it gets better with age.

You Deserve Love packs plenty of pop hooks into its short runtime without losing any of its rock swagger. White Reaper are playing like they have nothing to lose on You Deserve Love, and the record is all the better for it.

He's as strong a songwriter as always, but it feels like there's a deeper sense of purpose this time around, and it makes for a beautifully gratifying experience.

If this isn't Jacques Greene's magnum opus, we'll be very curious to hear what is.

With Over It, the Atlanta singer-songwriter is on point with a debut that's ultimately a contemplation on sexual politics and emotional availability.

It is great to see Caroline Polachek giving a go at being an independent pop artist, and this album makes it feasible that she one day becomes a household name in the genre.

Hovvdy's balanced expressions between residual nostalgia and murmuring secrecy are worn in beautifully on Heavy Lifter.

If you're a diehard fan, you could give Surviving a chance, but if you're only a fan of their pop punk and emo efforts, it's best to skip this one.

Though the sonic explorations undermine the album's overall cohesiveness, Crush remains a shining example of Shepherd's growth as an artist, and his willingness to push boundaries well into his career.

By opening up their sonic palette, Third Eye Blind has highlighted their sheer strength as a songwriting unit and demonstrated that any path they take, they'll throw themselves into fully and unreservedly. Sounding both fresh and classic, Screamer is a great place for new fans to jump on, or for previously jaded listeners to give one of rock's most underrated groups a fresh shot.

There's an effortless authenticity in her voice. ... Naggar's rickety orchestration, imagistic lyrics and posture of kindness ensure that it never feels like effort, so much as a joyful, sad, funny, wise conversation with close, thoughtful friend.

Everything Not Saved Will Be Lost — Part 2 is at once a satisfying and boundary-pushing listen from a band that sound hungry over a decade into their career.

It's good both for bobbing heads and bopping feet — both for being alone-alone, and alone-around-others, too.

Juice B Crypts responds with 11 tracks of knotty, electronic rock puzzles.

Sadly, precious little restraint is found on the stuffy, haughty Closer Than Together.

It's a multi-layered affair but each one provokes serious feelings and thoughts for those who peel them back.

There's nothing necessarily at fault about borrowing so heavily from the past — these sounds are, after all, classic for a reason and it's true that Starcrawler conjure them expertly and deftly. The most memorable moments of the record, though, are those when Starcrawler distinguish their work from the giants before them, sketching out instead their own growing sense of self.

Blossom shows much promise for AI-augmented composition in the realm of electronic sound. It's unlikely that a software version of the Beatles will exist in our lifetime, but Purgas and Ginzburg have proven that the boundaries of technological possibility are completely mutable.

The charm of Chromatics has always been their ability to create musical pastiche that winks at parody, but is so thoroughly and consistently within a world of their own redecoration that authenticity is never an issue. With Closer to Grey they've managed to harness the full energy from their chill fusion into their most ornately framed creation yet.

The album is dripping with gritty, assertive synth work so gravelly and heady it plants itself deep inside you.

A Pill for Loneliness is another strong effort from City and Colour. It finds Green continuing to play to his strengths and continuing to move City and Colour's sound into new territory at an assured, steady pace.

Having few tonal shifts and being practically devoid of contrast, LAHS is the perfect atmospheric soundtrack for a backyard party with boozy beverages and adult tokeables.

Paired with the dream-like, celestial quality of U.F.O.F., Two Hands shows Big Thief's loving view of the world can be immeasurably intimate and intangible, but also be bare-boned and brutally honest.

With each album they add more to their story, and the underlying emotional connection to the band and their songs is what grows in intensity.

In the face of enormous loss, Ghosteen finds comfort in what worldly wonders remain. It surely ranks among Cave and company's most ambitious efforts, and maybe among their most affecting, too.

Personal touches (a snippet of her father's voicemail, an unrehearsed picking party, field recordings of Chickasaw chants) amplify the authenticity with which Waldon approaches all aspects of her artistic development.

There's nothing especially innovative or unique about Handfuls of Night, but what it does, it does very well and should find great resonance with fans and filmmakers seeking some palpable sonic gravitas to help sell an emotional scene.

Without being overwhelmingly expressive or boringly subtle, Boris create layered atmospheres that are equal parts beautiful and menacing.

Nobody can seriously claim that Welcome Home tops any of Pantera. But it's a step up from Hellyeah's past material, showcasing all of the members' unending passion for heavy metal and all that comes with it.

The Vancouver duo's captivating moments easily outnumber the few duller ones. On Lightning Dust's fourth studio album, Amber Webber's beautifully haunting voice brings hope to dark places, and following it feels like being guided to the light at the end of the tunnel.

It's dark subject matter — which makes grunge's famously gloomy sonic palette a particularly good fit for a record that's as beautiful as it is bleak.

Dal Forno is still true to the homegrown production that fans grew to love; Look Up Sharp is showing listeners just how much she's evolved in her slow-moving, wistful world.

It's Brown's pen game and ear for production that carry the album's comedic spirit, anchored by technical and stylistic changes.

Rubberband has been executed with genuine respect for the artist. There's enough greatness here to justify the effort. Even if we hope this doesn't launch a new kind of re-bop craze, it's still great to press play on another Miles Davis album.

Monumental and intimate in equal measure, All Mirrors' boldness is exceeded only by its profound emotional resonance. Angel Olsen's talents were always apparent. Here, they seem limitless.

The writing is catchy and memorable, interesting and complex, giving the ten-track release tremendous depth that offers a brand new listening experience with every listen. It's an album that requires a lot of consideration, but the reward is well worth the attention.

This is the fifth album in nine years from the still-young Saskatchewan folk duo, and it continues their sustained level of excellence.

What makes C'est ça such a triumphant return for the band lies in just how damn listenable Fly Pan Am make it all come off, giving fans something much more adventurous and challenging than simple nostalgia would ever allow.

Hey, I'm Just Like You is an emotive and catchy pop record, but for Tegan and Sara, it's more than that: it's a message to fans to let them know they are not alone in their struggles.

Listeners should strap in and brace themselves for some stylistic hairpin turns. Thankfully Simpson is at the wheel, his Teflon tough voice, high torque guitar playing, and vivid lyrics steadying this thrilling journey through a world on the brink, and ensuring the wheels never come off, which would surely happen with a lesser artist in the driver's seat.

Although ultimately underwhelming, Moon Duo still create an enjoyable easy-listening psychedelic atmosphere in Stars Are the Light. It might not be the kind of album you can become deeply attached to, but would never fail to please as background music.

Abundance Welcoming Ghosts is, in other words, not always an easy journey, but its desire to thoughtfully explore the nooks and crannies of the land and the heart do make it worth the effort.

Having only a few minor setbacks, The Talkies is an exciting new addition to Girl Band's discography with its refinement of their sonorous experimental punk style and its ability to stay intensely enthralling, avoiding repetition. Getting deeper and darker than ever before on The Talkies, it will be interesting to see what Girl Band do next.

Heavily inspired by collaborations with Antwerp's Baroque Orchestration X (B.O.X.) and other likeminded artists at the 2018 Berlin PEOPLE Festival, Altid Sammen is a sonic exploration of unique instrumentation that adds to the rich tapestry of Efterklang's canon.

Despite any nitpicky issues one may find with In the Morse Code of Brake Lights, it's refreshing to see the New Pornographers, 20 years into their existence, still trying to swing for the fences.

Although Sunshine Kitty could be shaved down a bit, this album feels like the first time Tove Lo is really situating herself on her own ground. It's sexy, raw, and honest — but above all, Sunshine Kitty is just really good dance music. Essentially, every song on this album would bring anyone to their feet.

One True Pairing is not an easy listening record, despite its pop structures. Fleming is stark in his observations, yet he has woven hope in amongst the despair, creating a body of work that serves as a way through difficult and tumultuous emotions.

Karaoke Angel is a beautiful surprise from Sarlé, whose career as a solo artist has only just begun.

It's on these longer, wide-angle tracks that the album really shines, and fans who thought the stricter pop playbook Gonzalez has been using recently was perhaps too strict should find much to like in these more open-ended pieces. For the rest of us, DSVII should prove a likable enough diversion until the next standard studio release.

Jaime, Howard's first solo album, complements her distinctive croon with R&B, hip-hop and funk sounds, marking an adventurous departure that reveals unseen depths to the vocalist. With some of the most emotive, direct lyrics of her career to date, the dynamic range of her new collaborators — including jazz maestro Robert Glasper — informs the flavour of each track for an eclectic collection stockpiled with loose grooves.

Nine reeks of adolescence — and not in the goofy, humorous way of Blink-182's past, but in a cringe-y attempt at youthful angst. There are no slyly couched bits of wisdom, no life lessons learned between goof-ups and heartbreak, and it's altogether too earnest and self-serious to even be enjoyed as carefree fun. Blink-182 have always been intentionally juvenile, but in growing up and out of punk rock, they've never been more immature.

Breathe is Tiny Moving Parts' best work to date, and if math rock is your thing, it would be a crime to not check it out.

With All My Heroes Are Cornballs, JPEGMAFIA captures the feelings of existing in an era fuelled by mindless scrolling and compulsive tweeting, positioning himself as both a participant and vocal critic of the happenings of the current millennia.

They haven't abandoned their political senses, no, but they have moved into a new gentler phase. The elements that stay the same are their intentionality, their honesty and their vulnerability.

Ma feels a bit like watching the sun slowly set: as it gently dips into the horizon, there are moments where the colours burst and excite, but mostly it's a careful and calm experience.