Metawar will not only please current fans, but will likely win them scores of new blood, simply due to their noticeable growth. This is the most realized and accessible the band have been to date.

Although CASE STUDY 01 may not receive the same critical reception as Freudian, it's a solid effort by an artist who is, more or less, still a rookie, attempting to diversify his sound early on in order to avoid cementing himself into gospel music for the entirety of his career.

Clarity, her debut album, falls short of capturing the breadth of Petras's rarity, excluding a few crystalline moments.

The Soft Cavalry is the sound of Clarke coming into his own as a songwriter, enriched by Goswell's contributions. The album holds a reverence for the fragility of life and a recognition of just how vital our closest relationships are to its experience.

A record with a tighter vision, but just as much frenetic energy as Mannequin Pussy's previous work, Patience imbues both its highs and lows with a constant sense of intense strain and desperation.

Gou has invited us into her musical world, showcasing the artists whose music she's studied to guide her into crafting her own sound. If the LP she's currently working on will sound anything like this, we will be in for a real treat.

The textural depth of ANIMA grips, unlike past solo outings, and is ultimately even more rewarding when played on headphones.

An album as wide ranging, far flung, eclectic, and richly satisfying as its name implies.

Spirit is a satisfying addition to Rhye's growing discography. While the mystery is long gone when it comes to what and who Rhye are and stand for, the passion and striving for genreless perfection remains.

Bandana also stands on its own as one of the very best rap albums of 2019, or any other year in recent memory.

Pax Americana has covered a fair amount of stylistic ground, and while a couple of tracks may prompt a meaningful glance at their runtimes, this is a strong and varied album overall.

Curry has come a long way since he blew up and has fully solidified his place in the game. If ZUU isn't in your rotation, you're sleeping.

Can You Really Find Me is smooth and velvety, rich like dark chocolate with the soul to match. Night Moves have truly come into their own with this record. The diversity shows an unparalleled confidence in their sound, while still having the gumption to switch it up.

By demonstrating the passion with which he performs these songs, as well as the inventive instrumentation, Callinan has reaffirmed the sincerity in his music that is so often elided by his provocative image.

Despite 7 not being a fantastic project by any measure, the EP proves that Lil Nas X isn't a one-hit wonder and can find longevity in his career as long as he continues to show off his versatility.

Parry's work here is sombre yet uplifting, as he goes after the hard stuff with impassioned resolve and a rich and varied musical landscape (there are maybe a million instruments employed on this out-of-genre release) that is as singular as it can be.

Gold Past Life is dreamy and colourful, but poignant nonetheless. All those feeling lost, wherever they may be, can take comfort in the tender reminiscing of Gold Past Life.

Korkejian moves buoyantly alongside bouncy instrumentation, determined to get somewhere, but willing to enjoy the journey along the way. And what a beautiful sounding journey it is.

Keepsake marks an assertive, confident step forward for Hatchie and Pilbeam is well on her way to carving out her own storied path.

In the solid Late Night Feelings, sadness is more than an abstraction here: it's multifaceted, multilayered and mellifluous melancholy.

The record is a perfect amalgamation of everything they've done across their career, with a few new sounds tossed in for good measure.

These tracks and more prove the octogenarian has as much grit and vigour as country stars a fraction of his age. Indeed, Nelson performs so deftly on Ride Me Back Home that you'll feel the urge to ask this aged outlaw to hop back in the saddle for yet another spryly exciting ride.

The instrumental cuts are warm and warped, hazy and slow-burning, all buzzing with bass and landing loudly in the realm of beat making.

III is a record that fluctuates between the joyous and the melancholy over and over, making those many contrasts of dark and light all the more impactful.

Creative production and Lennox's voice, which brims with beauty and character throughout the album, are admirable distractions from the holes in the songwriting, however.

Compared to White's solo albums, Help Us Stranger feels like a low-stakes romp. And for a collaborative side-project, this is the best case scenario. White and Benson aren't trying to reinvent rock'n'roll, they're just bashing out some catchy tunes, and it's a blast to listen in on these old friends reconnecting.

It's an in-your-face, no-frills rock record that contrasts with the slower tracks of A Productive Cough, reminding fans that no matter what happens, this band can still rock. For those looking for the vintage punk Titus Andronicus, this record will do just fine, even if it doesn't quite match the high points of their best work.

Aforementioned moments of experimentation show a continued development of Future's "Hendrix" alter ego, but there's something to be said for getting to know him over a longer runtime.

A Bath Full of Ecstasy provides hope within strife, encourages repeated listens as much for their danceability as the quality of the writing.

This year's Club Nites is more approachable than last year's Seeing Green, but that doesn't make it any less loose and unfettered.

A gorgeous double album. ... Full of love and appreciation for life, which makes more sense to him now than it maybe ever did, Callahan inimitably presents us with philosophical jokes and thoughtful observations on a record that is an adventurous stocktaking of his own life, set to tastefully arranged folk and an open spirit that welcomes us in.

History admittedly feels a bit forced in spots, working too hard to set the mood, instead of letting things happen organically.

Years to Burn is a beautiful sounding recording and for fans of Calexico and Iron & Wine's initial collaborative release, this is a nice treat after all these years. But ultimately, Years to Burn doesn't have the same spark that In the Reins did.

A meticulous songwriter and producer, Jordan Rakei has opened up his sound with Origin, extending an invitation into a highly creative mind eager to deepen the bonds created with his listeners.

The arrangements roll and soar while leaving room for more intimate revelations, which is where Western Stars really finds its stride.

Sirens is by far the most personal album Kevin Richard Martin has ever made.

Baroness have outdone themselves with Gold & Grey. Armed with a fresh sound and well-honed talent, they are finally ready to be recognized as one of the most important bands in modern rock music.

Maybe it's the tedium of a career spanning nearly two decades, or a shred of complacency settling in after winning the highly coveted Mercury Prize in 2016, but Skepta seems subdued on Ignorance. A decent album, but not his best.

In spite of its occasional faults, Chura's distinct vocals are captivating throughout Midnight. Stef Chura lets her voice crack, crease, and crumble however it wants, pairing vocal fry with vulnerable vibrato. Her voice matches Midnight's offerings perfectly, walking the line between visceral passion and an exhausted shrug.

Serving as an exercise in humility, Black Friday is a testament to the value of tenderness in a world steeped in trepidation. For new listeners, the album should function as a cohesive introduction to a band on the rise — and a great point of entry to an already impressive discography.

Nighttime Stories is the most memorable Pelican album since 2009's What We All Come to Need. They're showing no signs yet of slowing down yet.

Final Transmission feels like an intimate farewell letter to a lost friend, and a fitting tribute to former bass player Caleb Scofield.

By paying proper homage to his soul elders, while also employing more distinctly subtle singing and a greater relatability via his plainspoken lyrics, Smith sets himself apart with 1634 Lexington Avenue.

The album isn't perfect; it is a little too slow in spaces, a little too quiet, and sometimes it is too serious. Fussell is capable of being goofy, but even the humour here never rises above a wry chuckle.

At eight tracks, some might criticize it on grounds of length, but these are robust, well-crafted songs that, even after multiple spins, reveal fresh details between the more obvious hooks.

Polymer is their darkest record to date. It still sounds undeniably Plaid, but tracks like "Meds Fade" and "Recall," which sounds like barrage of error messages knocking on your front door, will have you reaching for the light switch. Now they can add ominous to their established repertoire of complex and simple.

While none of Samsara is necessarily bad, there are moments where tracks start to blend together and lose focus. This doesn't necessarily take away from the amazing moments of the album, but as a whole it could use a bit more variance. That being said, the record makes it clear that Venom Prison are destined to join the top of the new-school death metal pack

A little more understated than her recent collaborations with Jeff Tweedy, who similarly wrote songs and produced them for Staples, We Get By is still a gem and Mavis Staples and Ben Harper clearly hit upon something special in working together.

Dépaysé is for fans of Sinkane; new listeners might stop for a minute to appreciate the vibe before moving on.

Yes, Pianoworks does have its beautiful moments of levity; Cooper is great at that. But the experience of listening to it feels very passive. It's happening, but you, the listener, are not so much involved as you are just in the vicinity. It doesn't wrap you up and envelop you the way Eluvium works often do.

In spite of minor missteps, Omoiyari manages to condense its political themes and historical scope into an impactful experience.

Though Football Money is not without its moments of pessimism, at its core, it's a coming-of-age record about doing what you can with what you have--a bright-lights-big-city story scaled down to Canadian proportions.

An intoxicating mix of celestial soul, sprightly funk and glossy, luxurious rock'n'roll, Apollo XXI is a self-assured and sonically robust exploration of love, lust and identity politics. Lacy scatters pearls of post-adolescent wisdom in the lyrics, and drives the album forward with infectious melodies and an angelic falsetto. But Apollo's chewy production is where Lacy makes his mark.

With The Last Word, The O'Jays end their legendary career on a peak.

While it's tough to imagine Whitechapel ever topping This Is Exile--one of the most important deathcore albums ever--this record is an extremely close second. The Valley solidifies the band in their current musical direction and is easily Whitechapel's most diverse and well-composed album.

True to its name, Sebadoh's latest proves that, even after all these years, the band are still capable of making music that is thoughtful, humble, and, at times, surprising.

At the end of the day, this project shows Megan Thee Stallion in her most refined element--confident, powerful and never submissive.

The album is captivating from beginning to end, and shows Employed to Serve have mastered the art of making chaos digestible.

It is big, bold and absolutely electrifying.

Stepa J. Groggs and Ritchie with a T are solid, if not remarkable, rappers. And that's fine. What sets them apart is that they feel like real dudes. ... Injury Reserve's real driving force, though, is producer Parker Corey.

Flamagra plays like a staggered daydream, where you occasionally return to consciousness, only to slip back into slumber soon after.

Throughout, We Fall is a slow, contemplative record, perfect for those introspective, late evenings. It occasionally has some interesting post-rock vibes, especially on the guitar-driven tracks, but elsewhere the slow piano playing is closer to older ambient records.

Lee Ranaldo/Jim Jarmusch/ Marc Urselli/ Balázs Pándi is an egoless collection of ideas from four musicians who sound like they've been working together for an eternity.

DJ Khaled knows how to produce a hit with any number of artists, but his 2019 effort could have used some more growth like Asahd.

The fifth Black Mountain album is their most driving album yet, literally. It was edited on the road, directly influenced by the feeling of being behind the wheel. Of the 22 tracks recorded, the eight that made it are as propulsive as you can get, hard-edged cerebral space trucking.

Fun and compelling as such high points can be, nothing on this album reaches the strata of the title track.

Contradictions and duplicities abound. But Webster is not putting us on. For all of its facades, Atlanta Millionaires Club is a work of arresting candour.

Reward is a lucid rush of avant-pop. Dreamy and sonic echoes, layered with Le Bon's sotto voce lyrics, make this her most compelling album.

For the most part, Morrissey sounds like a cheap facsimile of himself; an aged crooner without any latter-day grace. Moreover, the features list on this album, including Billie Joe Armstrong of Green Day, occasionally comes into play with no impact. Coupled with Morrissey's complete lack of finesse in his vocals are the instrumentals, which are, for the most part, the dictionary definition of clinical.

While this release really doesn't break any boundaries, it's beautiful and doesn't demand much more than good feelings. In these times, that's no small thing.

Seven Steps Behind is an album that, for the most part, has found its footing with a few missteps along the way.

Rave 'Till You Cry is as brilliantly insane from start to finish as any other collection Raczynski has assembled.

Where Black Is the Color was a debut of haunting folk-noir, Deluxe Hotel Room is a collection of emotive ballads that reveal an artist on the go who isn't afraid to make space for herself.

It certainly sounds diminutive in scope after the triumph of Iteration, and, despite the new gear, there's not much that sounds especially new or exciting here, just the usual Com Truise stuff in a slightly reduced register.

While it's hard to say whether or not it bests E•MO•TION, Dedicated does something arguably more important: as her first major work since 2015, it confirms both Jepsen's consistency and longevity as a songwriter.

Menuck and Doria found a new creative partnership, and each return to are SING SINCK, SING provides that crucial reminder while offering a shoulder to cry on.

The album's 11 tracks are anthemic, rhythmically driven, and infectious, perfectly blending industrial and electronic elements with hard rock and heavy metal in a distinctly unique way.

Pollard races through each song with all the gusto of the late '90s. His enthusiasm, though charming as ever, falls just shy of justifying what often feels like a collection of chaotic, unfinished demos.

The Best of Luck Club may lack some of the whimsy that got her noticed, but with this more mature turn, Lahey has expressed some lyrical depth that wasn't quite there the first time around.

I Am Easy To Find feels like a restart for a band in its 20th year. It might challenge some fans and may not ever grow on others, but more than anything, it proves that the National are not the band you thought they were. They're way more than that.

The Get Up Kids have a talent for writing catchy and infectious hooks and choruses and it's what has kept them on the map for over two decades. Both old and newer fans will find songs they enjoy and hopefully never stop listening to on Problems.

At 53 blurry, delirious minutes, it's a lot to take in. (Better suited for that might be the more melodious, less dense Dripping or this record's chronological and spiritual predecessor, A Hairshirt of Purpose.) But it's a strong step forward, and offers no more or less than exactly what Pile are all about.

LEGACY! LEGACY! is a complex and near-flawless reworking of genre--"I am not your typical girl," as Woods notes on "Betty"--as the singer-songwriter evolves her art, thought and reason for being.

Versing have an aptitude for taking the familiar sounds of earlier genres and developing them into something fresh. 10000 is bold and jarring when it needs to be, filling space with ubiquitous noise and melody.

On Anoyo, Tim Hecker stretches out his heady winning streak for another 32 striking and captivating minutes.

Fear in a Handful of Dust might just be the best sonic definition for imperfect beauty we've got right now. Luckily, with the recent formation of Tobin's new label, Nomark, it looks like we'll be waiting far less than eight years for the next body of work.

At its best, the album retreads familiar ground.

As an album, YU feels like a body of work sewn together with interludes, hooks and a growing maturity. Lowe has made a statement by developing inward musings into grooves that reach toward new audiences, the heart at the centre of her work audibly beating.

You don't just feel unburdened of "progress" dysphoria, you feel like you've emerged from the paradigm equipped with a new language to help you navigate the next one.

Invitation can be a tough record to puncture. The shadowy soundscapes--thick layers of keys and strings with, oftentimes, thunderous percussion additions-- sometimes overpower Broderick's soft vocals.

Being more open to collaborations, and trusting the process of a co-producer, the quality of production is more on the synthetic side, but the record still has a sense of nostalgia that permeates her techno-pop melodies, because of the heavy synths.

The Damned Things explore a more alt side of rock'n'roll on High Crimes. One thing you can be certain of, however, is that the music is as intriguing as its unorthodox lineup would suggest.

The best of this record comes early, with opening tracks "Burn Baby," "Fighting the Crave" and "Proto Prototype." ... Scatter the Rats falters as it gets closer to its middle. ... The record picks back up in earnest with some of the final tracks.

Their third album, End of Suffering, feels less like a compromise between two sounds and more like a cohesive band.

There is certainly an urgency here; a difficult album to ignore.

One of the only things missing from the album is flow between tracks. Songs hit a satisfying ending, but then fade out and move to a track that doesn't connect to what the listener just heard.

Mint Condition is an incredible country-folk album, not only due to crisp and clear storytelling, but Spence's mesmerizing vocals, which have a unique sound of their own, with a hint of Dolly Parton, Lee Ann Womack and Ashley Monroe mixed into one.

Big Thief are accepting the inherent beauty of life's invisible forces and their contemplation with the unknown has led them to a mindful state of raw, celestial power. U.F.O.F. is trembling with mystical energy and is truly one of the year's best records.