It's to CHVRCHES' credit that Screen Violence doesn't suggest any shallow, put-down-your-phone answers to the questions it raises. Instead, the album makes an unflinching appraisal of present-day anxieties to summon the vitality needed to keep going, in spite of what keeps coming through the screen.

This is Lone's best work to date, and one that shows it's possible to keep evolving while holding onto a strong sense of identity.

The overall vibe of the collection is likely to put a smile on your face (hell, even Townes sounds a mite less melancholy, thanks to the spirited accompaniment), making it a perfect fit for your next beer 'n bourbon patio party.

Fin serves as both introduction and transition.

It's by no means new territory for the Swedish outfit, but a move that keeps their further foray into prog rock enjoyable.

Think Burial operating on a slower, divergence-filled soundscape.

Though this is his most contemplative release to date, Flatland still seems fidgety, with each track seemingly owing little to the ones before it.

At its best moments ("Long Road," "Funeral in my Heart," "Fennario") Landry comes into his own, and the record feels deep, substantial. Too bad he lets himself slip from time to time into a mimicry that feels beneath him.

Overall, Ashes And Dust is undeniable proof of Warren Haynes' growth as a songwriter and an affirmation of his continuing successful eclecticism.

This is likely not an album to give their career an extra boost, but one that'll surely keep loyal fans happily on board the Rockets' ride.

Jacklin manages to rouse quite a number of emotions across these 11 tunes, including steady slow-burners, unconventional lyrics paired with bright guitars, hushed, soft singing and grungier moments here and there.

The Unborn Capitalist from Limbo is simultaneously unsettling and comforting in nature, as Hanson achieves what he ostensibly set out to do here: set a mood stuck somewhere between Heaven and Earth.

Although Romans is a collaborative effort between two dance floor heavyweights in their own right, the largely dark sound that has distinguished previous releases from Haslam emerges as this record's strongest aspect.

Love in Beats finds Omar's brand of R&B at its most peerless, timeless and, yes... mature.

Perhacs' stellar melodies are bolstered by excellent musicianship throughout, like Cline's watercolour-like guitar work at the end of "Winds of the Sky," and Leddie Garcia's tumbling percussion on "The Dancer."

Washington delivers an LP's worth of ideas, vision and passion into only six tracks and 33 minutes of music.

With Ribbons, it is clear that Bibio is trying to take the best parts of his music over the years and bring them together into one concise, but eclectic, album, and on more than a few moments, he succeeds beautifully.

It's a raucous collection of deeply-felt country — a journey through many lives. And while its electric, dust-blown sound doesn't push into any new directions, it's a fittingly rich setting for Rose's outsized personality and reedy, expressive voice.

Banana Skin Shoes is classic Badly Drawn Boy: Eclectic songs held together by heartfelt lyrics and rich instrumentation. The only thing that's changed is Gough has proved he can dance.

While the record may not have been what she was expecting to create, it illuminates immense growth and versatility in Margaret's strength as a songwriter and as a producer.

You could call Butterfly 3000 the least King Gizzard album of their career — there is next-to-no distortion or guitar riff theatrics. Nevertheless, it's a refreshing departure from the psychedelic garage records the band has released in the past few years.

Wherever he goes, it's a journey solely for himself. That we're invited occasionally to check on his progress in all its disarming, emotional breadth is simply a blessing.

Each Liars album has kept us guessing and WIXIW is no exception, offering us another glimpse of Liars' infinite supply of uncompromising, yet succesful ideas.

Raw Honey is a seductive and catchy pop record bearing its '60s rock influence openly and proudly.

It's not an entirely off-putting mix, but it's only after a few songs that one starts to get a handle on what Branan's up to.

Alvin's rugged and bluesy delivery contrasts nicely to Gilmore's signature ethereal tenor, and their harmonies are sweet. Given that both are accomplished songwriters, it's a mite surprising there is only one joint original tune here, the opening title track.

Opting to re-record a largely unknown demo is a fitting way to bring closure to Mr. Bungle's catalogue. Further, the inclusion of previously unheard songs makes this feel like a proper new release, as opposed to an excuse to shove a nostalgic name back into the world.

Torture is classic Corpse. No complaints.

Though their music can be playful and funny, 100 gecs are very much not a joke. 1000 gecs & the Tree of Clues makes it clear that Brady and Les know exactly what they're doing and that they've got an army of highly inventive and creative supporters standing with them.

Cavalcade is a record that modernizes jazz fusion, evolving it beyond its party yacht past. ... It's smart and well-calculated, expressing their range as musicians.

Roberts' characteristic style is Scottish without cliché, and his marriage of old and new stands out in an oversaturated, strummy-guitar field of singer-songwriters as a gorgeous album from beginning to end.

To See More Light is a masterpiece that organically and coherently blends Stetson's avant-garde playing and dark, complex themes with accessible and compelling compositions that bring a ray of hope not just for the characters in his underlying narrative, but for the future of music.

This record collects the works of Austrian composer Franz Schubert and morphs them into a gloomy meditation on the sure, comforting absurdity of existence.

Coming across as a viscera-churning blast of pure sub-bass propulsion, Borders demonstrates that while Emptyset's methods may have morphed, their madness is still intact.

Continuing to age gracefully, Deftones deliver an emotionally divided release with Gore, one that will continue to endear and swing with your own mood--however you're feeling.

Wherever Thundercat plans to go from here, this EP builds the robust case that one probably should follow.

Though he enthusiastically pushes the boundaries of his sound and image on his most eclectic album yet, Miguel also takes care to make each of its tracks insatiably catchy and breezily fun.

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.

The results are a pleasant surprise.

They've always had an ear for melody, and here, the shimmering soundscapes put that gift on full display. The result is a compelling, immersive addition to the Beach Fossils catalogue, an effort that chronicles a band truly freeing themselves and expanding outward.

The Horizon Just Laughed is an album capable of moving listeners figuratively and literally. The pastiche of genres aptly complement and accent the American folk foundation that he's built his style and brand on.

Shauf's ability to imbue his characters with plenty of nuance, quirk, charm and flaw in brisk scenes is impressive enough, but his need to craft full worlds around them put him head and shoulders above his peers.

As disjointed and tense as this sophomore effort may come across, angeltape is a proclamation of artistic and emotional resilience.

[Kelley Deal] sings on two of the new EP's songs, and that all-too-fleeting taste will leave you immediately hankering for more.

Rubinos's major folly on Una Rosa seems to be her desire to push her craft forward and to challenge herself. And while that may be the main ingredient for truly groundbreaking music, she forgot to draw up a blueprint beforehand.

While the album doesn't have the same immediate impact as ULTRAPOP (everything they release henceforth will inevitably be compared to that titanic slab of a record), Perfect Saviours will undoubtedly cement the Armed as one of the best, most exciting rock/punk/hardcore/experimental/whatever-you-want-to-call-them bands making music today.

Blais' playing suits very well the pristine and glossy production Silver employed for those recordings, injecting it with a real sense of purpose here.

Molina once seemed poised to become a reliable purveyor of sticky throwback pop. But absent the visceral thrill of his early work, or anything new or profound to say about grief and heartache, Kill the Lights offers little more than the sum of its influences.

While Savage Mode II is by no means a lacklustre album, it may not be the exact product their fans hoped for.

Mac DeMarco may assume a trashy façade, but beneath that lies a genuinely talented songwriter who writes what he knows and keeps us entertained while he does it.

Each song is injected with sharp, drug-filled commentaries that deliver, brick-by-brick, a solid foundation for King Push's cocaine castle.

Fans of the band will enjoy the mature and practiced sound of this very good album, but the unconvinced might remain so, as the band don't exactly reinvent the wheel on The Glowing Man.

Helado Negro has managed to craft an emotionally powerful classic with This is How You Smile.

The album is somewhat lacking in range, but otherwise, Agora offers no evidence of compromise. If anything, Fennesz turned that bit of adversity into artistic license.

Bridges loves a good love song, and nails a few here.

Though a lot of this material might come from a damaged place, by foregrounding that, a defiant perseverance shines through on Heart Song. Williamson isn't revelling in self-pity--rather, by carving out her insides, she demonstrates agency, action and an embittered sense of hope.

With Dissolvi, Steve Hauschildt rediscovers his adventurous self while taking delight in the human element.

Time has been kind to Thee Oh Sees, who remain proper royalty in the garage rock universe and manage to shape-shift without losing their boisterous and impactful delivery.

Engravings sees the artist employing fractured choral voices, militant drums, swirling guitars and the occasional harpsichord (notably on album standout "The Weight of Gold") to create a tapestry of sounds both experimental and organic.

With Crack-Up's earnest explorations of the human condition and evocative, progressive composition, Fleet Foxes maintain their status as one of the best folk rock bands of the 21st century.

With impressive growth, and while still operating within the genre's tight confines, Carnifex put the final nail in deathcore's coffin, giving it an appropriate sendoff.

The artistically revelatory voyage into Droog's at-times nostalgic, at-times comically bizarre world proves well worth the 40-minute trip.

A big, bold sound isn't a bad thing, but the fact that this album is a little less engrossing than the band's past efforts shows that the most interesting thing about the War on Drugs' music isn't the way they channel their rock influences, but the way they subvert them.

Less is more with Lilies--De Biasio goes big with a subdued sound, and the end result is luminous

This loose, spilling energy does not translate to a lack of moment-to-moment intensity. On "Cop Dream / Black Eye (True Story)," Spider Bags let loose with a thrashing blaze, guaranteed to conjure up mosh pits wherever it's played. The record also features some of the band's most indelible imagery.

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.

Rose shines a disco light on shame, lets panic leap into a bouncing gait that's faked-till-it's-made. And though she masterfully wields the absurdity of hubris, she also doesn't ridicule what she finds. She asks the misfits of the human psyche what they want and what scares them, and gives them a whole floor to do their dance. They laugh together, let loose and sweat off their blush.

Lamb of God is essentially what fans should expect from the band at this point. Nothing on it feels groundbreaking or cutting-edge like the band's music did in the 2000s, but then again, it's unlikely Lamb of God will ever muster up that same aggression from the comfortable place they sit now.

This is Colourgrade's magic ⎯ it captures the quiet humdrum of life at its most unreal, blearing domestic love and childrearing and sleep and exhaustion into something suddenly, amazingly unfamiliar.

The music is as diverse as ever — from psych folk to hard rock to prog-jazz to post-punk to stoner metal ― but Segall’s songwriting feels streamlined and clear-eyed, a welcome respite from the storm that surrounds it.

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.

Kesha shines brightest on "Woman," an undeniably funky number whose soulful beat is driven by the Dap-Kings' legendary horns. Unedited takes of giddy laughter shared between Kesha and her co-writers in the vocal booth pepper the song, demonstrating an artist who refuses to be stripped of her joy.

A compelling album that will more than reward your attention.

New View is a lush and beautiful record that stands comfortably in such heady company.

While these haunting mood-pieces aren't exactly uplifting, they have a melancholic beauty that's comforting in this troubling times. Even if we're lonely, we're in it together.

Ultimately, beatmaker Tommy "TBHits" Brown outshines the veterans, co-producing two of the record's more engaging tracks--"Better Off" and "Goodnight n Go"--which are inexplicably relegated to the end of the record. Those songs manage to accomplish what the rest of the album attempts: bringing a new fire to pop-R&B's familiar formulas.

In many ways, Sweet Heart is the most complete Spiritualized album yet.

Cool and calculated, it's sure to rub listeners who are anything but the wrong way.

Victim of Love is meant to be taken literally; it's a rare and continued opportunity for a sexagenarian to finally get his chance in the soulful sun. Something the album proves that he's both appreciative of and not taking lightly.

III is fuzzy, fast-paced and ferocious in all of the ways we would expect from FUZZ. Ty Segall, Charles Moothart, and Chad Ubovich have carefully conjured cacophony once again, in what might be at once their most spontaneous and their most down-to-earth record to date.

For the most part, Based on the Best Seller feels like a revitalized bunch of friends cutting loose and having a blast. The wheel hasn't been reinvented, but you get all the inside jokes because they're your friends — and you're just happy to have been invited along for the ride.

Condensing her struggles into meditative lyrics and singing from the perspective of fictional characters, this is a jazz project in its purest and most unadulterated form, and a very solid start to Ndegeocello's tenure at Blue Note.

The Goon Sax are able to balance melancholy with the excitement of shedding adolescence through the perfect conduit: pop songs.

The payoffs on Kveikur aren't immediate, but they're no less orchestrated than previous work, coming across like a more focused and fleshed out Thee Silver Mt. Zion Memorial Orchestra with sweeter vocals.

"pamplemousse" and "which way" serve as the purest evidence of the freedom achieved on this mixtape. These experimental sketches are delightful in their rejection of seriousness.

Pure Music is Strange Ranger's most alluring and most impressive effort yet. Fans of the band's beginnings will probably remain averse to this affirmed sonic shift, but it's hard not to respect an outfit brazenly evolving by throwing everything familiar out the window and going buck wild with their vision.

A saviour of lost noise, it's plunderphonics at its finest and most process-oriented, data and the digital transmogrified to something warm, nostalgic, tense — and, above all, timely.

He's has created a blistering and often beautiful protest album. Let's hope his fever catches; it'd do us all some good.

For all the internal nuance of the record, Devotion is primarily an album built on the invisible ties between us, shifting between shades of love, rupture and unsteady silence. In the sparseness of its haze, Devotion feels ephemeral.

The lack of development and subtlety is a frequent problem for the album.

Even after seven albums, the fun and excitement is still there, albeit in a new and changing way.

The result is distinctly Dead in the Dirt. Subtlety is not in the cards, so the faint of heart, or those craving even the most inconspicuous of melodies, should look elsewhere.

While The Muscle Shoals Recordings reaffirms the SteelDrivers' deserved prominence in the bluegrass world, it does little to transcend the genre's current boundaries.

Unlike many B-side collections, much of E•MO•TION: Side B has single potential to the point where it's crazy that high-energy synth-pop gems like "First Time," "Higher" and "Body Language" were left off of E•MO•TION for mid-tempo bonus cuts like "Black Heart."

Marginally more "mature" in composition and content than the band's previous records, Transit Blues is another solid release from a band that audibly continue to give their all.

Perhaps this is not Sexsmith's most lyrically accomplished work, but it is difficult to dislike any of these lovely, breezy, genuinely heartfelt songs.

Howl is a well-crafted structure, built on the foundation laid by its predecessors. It's certainly the pinnacle of West's career so far, and up there for electronic album highlight of year.

FLUX situates itself in and around the broad category of rock and its derivatives, but what it really does is encapsulate Poppy's desire to evolve through genres. ... With this album, Poppy very clearly says that her new niche is to not have a niche.