The album's blipping between hip-hop, footwork and a clutch of other electronic styles does carry a prêt-à-porter element, but one that hangs well on Gordon's frame with every new fit.

It's this theme of genuine imperfection that allows Quarantine to come off as an exposed, wounded masterwork.

What Photay achieves on Onism is the contrast between full auditory saturation and expanding silence, brought to life by brilliant production.

The tuneless guitar twang that's used throughout the movie [A Scanner Darkly] and the little scraps of Radiohead tracks on offer have nothing on New Path though. All we need now is some devoted fan with editing skills to paste in the soundtrack that the movie deserves

Ultimately, Shake carves out poetic tranquility in the entropy of her messy relationship, showing her audience the art of Modus Vivendi — or the peaceful coexistence of conflicting forces.

Wild Pink's song structures, instrumentation, arrangements and sound design are their most inspired yet, and Ross's steady, calming presence is almost like a spiritual guide. Altogether, ILYSM is reliably enjoyable but just shy of transcendent.

It's a deliberately weird record, but authentically weird; it's chaotic yet cohesive, full of sound, colour and unshakable vision.

It is unquestionably their finest, and strangest, work to date.

Everybody's Heart Is Broken Now is a satisfying, long-awaited return for Niki and the Dove.

This is the work of ravenous, restless musicians who refuse to be pigeonholed.

It's simultaneously a distillation of his many trademark sounds while also a massive departure from his previous works. The album demands multiple, active listens, but it's well worth the effort. Hidden beneath its complex layers lies an endless well of new modalities, critical interpretations and potent ideas. ... It's not an album we could have ever expected in 2020, but it is the one we deserve.

Through the static and fuzz comes a clarity of sorts, that truth is oftentimes going to be something both comforting and discomforting; it's why The Future's Void serves as the perfect modern day soundtrack.

Penultimate track "Your World" is perhaps the most forward-thinking item here; with the unusual mash of R&B and dream pop, it offers something novel, where some other parts of the album do have a tendency to be a touch heavy on paying homage to styles past. But the sounds and homages on offer are diverse enough that this is a minor quibble with what should otherwise be held up as a model debut album.

Like her LP, ANOHNI's PARADISE is a poignant, smouldering reflection of society's current, crucial conversations.

The nervous, blemished energy of Forth Wanderers is gripping with heaping amounts of charm, bitterness, sarcasm, and unease in the right proportions, making our insecurities stare back at us.

On I Thought of You, Julie Doiron defends her crown as indie rock royalty, giving listeners yet another full-band classic that equals her material with the Wooden Stars and even Eric's Trip.

On Freedom Highway, Giddens juxtaposes historical narratives with present-day contexts for an emotionally powerful record.

While Container doesn't sound like he's challenged himself creatively on his most recent album, listeners who have yet to hear his indistinguishable, ear-splitting sound will find some auditory excitement.

Craig Finn, Jason Isbell, Tim Easton and Caitlin Rose all show up to play, reminding us both that Branan can stand beside the best in the business, and that the best in the business want to stand beside him.

With tiny flourishes, Ndegeocello injects new meaning into each song she covers.

Heynderickx's music sounds fresh and improvised, as much about process as it is about poetry and craft.

Frontwoman Jenn Wasner and multi-instrumentalist Andy Stack skillfully synthesize their last three albums into a glossier blend of synth-laced dream pop. It's the product of a band that know their strengths and work around their limitations.

It makes for immersive listening, even when tracks fail to sustain themselves. ... Despite its digressions, Have We Met is rich and varied enough to offer more than just throwback thrills.

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.

Ratchet is an exciting first look at an artist in development.

Fortitude is an album that takes a few listens to fully wrap one's head around, and there's no denying just how much there is to be heard in these 11 versatile tracks. If there was any doubt still about Gojira's potential, Fortitude proves unequivocally that the band are MVPs of modern metal.

Totally original, completely unselfconscious and wonderfully catchy, WINK is one of those rare albums that you can throw on anytime and let it guide you on the journey it has laid out before you.

Tweedy has become a master of subtlety in the studio and the blending of instruments and voices is seamless. Above it all is Staples' unassailable conviction.

For a band that's spun fanciful yarns from the farthest reaches of time and space and the inner recesses of their own minds, this grounded perspective could be another interesting change of direction. But for now, it feels more like a retreat.

Tyler sounds like he's barely breaking a sweat. It's the sound of confidence in one's abilities as an artist, one who embraces their restlessness and creativity while sounding like he's barely breaking a sweat.

Retribution is immersive, cathartic, potentially even transformative.

All the Beauty in This Whole Life is a welcome work by an artist who's put it all on the table over the past six albums; his seventh was well worth the wait.

DiCaprio 2 exemplifies what the ideal student of the game sounds like--someone who's conscious of how a hook presents itself, how to control their delivery and how to diversify their lyrical bonds.

Once again, Lee Gamble has managed to produce an effort right in PAN's wheelhouse, pairing idiosyncratic experimentalism with dance floor styling, and it totally works.

If Pale Fire read like a dream, KoKoro reads like a worldly, real-life adventure.

K-os hasn't been this experimental or fun to listen to since his 2004 classic Joyful Rebellion. It's a thrill to hear him return to the creative stratosphere once again on Can't Fly.

His rhymes are so layered and rapid that they are all but indecipherable, giving them endless rewind value. These features make Bleeds a dense, dark, demanding listen. But patient, socially conscious audiences will not only find it compelling, but galvanizing too.

For an artist who's given his name such a despairing title, No Future shows Moiré at his most ambitious.

Don't Let the Ink Dry is a promising debut that showcases true talent.

Other than a few lapses, the hooks, synths and classical instruments effectively recontextualize Architects' musicianship. For Those That Wish to Exist proves these guys can successfully diversify their sound.

Altin Gün don't reinvent the wheel so much as craft a sick new set of rims. They do their thing like nobody else, and they're always getting better at it — Aşk gives you everything you want, and you'll still want more.

The group's musical evolution is clear, but they clearly can (and should) push even further into this heavier direction.

A band that could forever rely on their fascinating back-story and critical adoration alone, Tinariwen strives for much more on Emmaar.

Ugly explores the rapper's newly formed duality, deepening his songcraft and letting the raging flame dim to a white-hot ember; it's his most reflective album to date.

Krug doesn't let the instrumental limitation restrict him and, while the listening experience jarringly contrasts his past body of work, it exposes a rawer, more intimate side of Krug, to much success.

Teri Gender Bender's vocals are the star and the driving force here, pretty much the only truly engaging element.

Information is a decent effort that unfortunately doesn't quite bite as hard as it should.

Despite the underwhelming musicality of Total Freedom, many of these songs still pack some undeniable emotional force, especially the more joyful tracks like "Who Rescued Who" — a charming ode from Edwards to her dog. In her songcraft, Edwards remains dependable and enjoyable.

The musicianship of the guest artists is impressive, and Jameszoo's interpretations of their work are startlingly creative. The whole package is likely to be one of the year's best, and certainly one of its most original.

By all accounts, Honest reveals that Future's music was never a "right place, right time" story, but one that's unique and has staying power.

Though precise and at times cold and glassy, the album is by no means a minimalist evocation of a future world of urban decay.

While their mesh of influences isn't exactly novel, Patina shows Tallies coming into their own as songwriters, capable of crafting warm, memorable music unbeholden to nostalgia.

Pleasure presents a unique, uncompromising vision of intimacy and enjoyment.

The OOZ also practices an astonishingly brilliant economy of sound, allowing only the most needed instrumentation to percolate to the surface, emanating and radiating: nothing is overblown; everything is necessary.

There is unquestionable bravery in the access and vulnerability that sentiment communicates, and the journey into pop music is yet another promising step in rousay's always-morphing development.

Even for all the newfound sheen, there's nothing on this new self-titled album that necessarily feels out of step with what's come before. ... Anchoring the songs to drum and bass grooves and keyboard loops gives Bixler-Zavala more space to flex his voice; once little more than a high-pitched rebel yell, it's now capable of delivering a rainbow of emotions.

With Always Foreign, TWIABP's chaos is more calculated and controlled, even as their fiery resolve burns from the inside out.

Minor evolutions aside, there's not a whole lot to set 7 apart from the six albums that preceded it, making it easy to see this as just another Beach House album. Don't take them for granted, since it's hard to think of another band that has delivered so reliably for this long.

If you're looking for a good time and willing to embrace Rozwell Kid and all their oddities, Precious Art will make for a fun and, in some ways, nostalgic listen.

Black Milk has renewed his sound, proven his skill in lyricism, and displayed his depth as an artist who is proudly using his platform to discuss political issues.

While dancing to his music may prove difficult, absorbing and enjoying it in other ways is certainly very easy.

Whether or not this search is of genuine desire or some gesture toward a gaudy ecclesiastic aesthetic, Hayter's most recent attempt at salvation manifests in arguably the most afflicted and disconcerting peak into her head and heart yet.

Simultaneously modern and nostalgic, a hard rocking band that you can lose yourself in, Hotline TNT have made a record that defies time and space.

Hearing it now, After the Party is delightfully bittersweet. Years on, when time has continued to pass and age has continued to set in, it'll be devastating.

Stylistically, White may be a one-trick alligator, but it's a damn pleasing one.

Although Another Life may be borne from the unnerving question of whether the world will be saved or destroyed by technology, the music contained within is still hard-hitting, at times danceable, and infinitely entertaining.

The most sophisticated and pristinely produced versions of their signature sound to date. Whether you're a new or old listener to Teeth of the Sea, Wraith will be a fresh experience.

Every bit as accomplished and rewarding as Simian Mobile Disco's recent work, Swisher is electronic music for the connoisseur.

For those who ran out of goodwill for the band's music and antics post-Money Store, Death Grips 2.0 is worth looking into.

Although a bit more subtle than her 2012 masterpiece Seeds, Overload still ranks among Muldrow's finest efforts.

The Ice Spice collab "Boy's a liar Pt. 2" is perhaps inevitably tacked onto the end of Heaven knows. It's a bit of a self-own, as it easily outshines the rest of the album despite being far simpler in every way. PinkPantheress has become an expert pop craftswoman — but the stripped-down magic of "Boy's a liar Pt. 2" reminds listeners that incredible hooks outweigh intricate production every time.

A Beginner's Mind will not wow you with grand theatrics but it will have you on the edge of your seat nevertheless.

This album is an advancement rather than a return to form. Despite their previous effort struggling against the weight of the band's dormancy, this album is a moving experience that brings with it a sense of fading youth.

On Faithfull's latest album, Give My Love to London, the collaborations work best when they contrast with Faithfull's signature weathered chanteuse persona, giving a new background for her unmistakable voice.

On Power, Lotic shows that there are no boundaries and no blueprint to their craft, both musically and conceptually.

Oshin is remarkably consistent, both in terms of style and quality, and there isn't a dud amongst these 13 tracks.

Even though the subjects may not be sung about with as much grit as they once were, they are certainly darker than the pop genre that's entrapped the artist in recent years.

In effect, McIlwain has succeeded in making not only a great record, but also a thoroughly lovely one.

She's a straight shooter, and Trouble & Love hits right to the heart.

Over the course of 11 impeccable tracks, Amos delivers eerily infectious singer-songwriter fare on par with the intelligent and emotionally raw efforts of Nina Nastasia and Sun Kil Moon, but that's polished with studio savvy worthy of Califone or even mid-period Modest Mouse.

Since this is Tanya Tagaq, no moment of the album feels excessive or perfunctory, making Animism one of the most challenging and listenable albums of the year.

There are flashes of influences--Ministry's late '80s, early '90s run is a clear antecedent--but the pair never succumb to mimicry or idolatry. This is Berdan's pain, writ large and loud for all to hear.

Torche are one of the most important and unique heavy bands of the last decade, and Admission serves as another solid entry in their catalogue. For a full picture of the band, Admission is the record.

The Mountain Goats really haven't gotten the attention they deserve over the past several years, so if you want to introduce someone to them, Songs for Pierre Chuvin is a fitting choice. It's a great example of the heart of the band.

Sideways to New Italy is not only the perfect summer companion, but it also makes room for a reflective experience. As the band work to find what constitutes "home" again, digging into their individual pasts and the people and places who have shaped them, perhaps it can inspire listeners to look inwards and do the same.

it's also about how those feelings of weariness and romantic ambivalence can so quickly knot up with ones of jealousy and longing. There is, of course, no resolution in sight by album's end. But it's in these in-between-spaces where Deland thrives. It's a gestational document, thrilling to witness.

While Good Woman is not the most notable stop on the Staves' journey, it retains all of their most delectable elements — heart-hitting harmonies, lovely melodies, and moments of lyrical spark — that have come to define their work.

It's a more focused effort than scattered 2014 solo debut Everyday Robots and more delicate than the bulk of his back catalogue, but Albarn's still drawing outside the lines.

There are moments on Superchunk's inspired and inspiring Wild Loneliness where ideas of isolation and connection are pondered and addressed but any despondency is met with righteous hope and a roaring conviction that all is not lost, and goddamn do we need records like these right now.

While there is no shortage these days of songwriters railing against soured relationships, Hackman has finally made it out of her twenties with all her good intentions and bad decisions leaving marks on her heart. She's ready to turn those pages and tell her grown-up tales.

Triplicate proves that his ability to interpret the Great American Songbook is equally worthy of recognition.

Live from the Underground is the best Southern rap record since Big Boi's Sir Lucious Left Foot dropped two summers ago.

The pacing of Rest and the length of its songs make it a grower of an album that, over time, ensconces listeners in the sonic layers and personal lyricism of Gainsbourg.

Over 11 tracks and 50 minutes, the Hamilton duo create compact and unhurried works that reflect the musical simplicity and approachable feel found on their 2004 debut, Last Exit.

All in all, while sometimes dragging and repetitive, there are enough moments of epic tension-resolving buildups and sonically interesting tracks that make this album worth checking out.

Clever turns of phrase and quirky observations still permeate Barnett's writing, and there are still jangly, toe-tapping jams like "Need a Little Time" and "City Looks Pretty," but there are also darker forces at work.

Amidst a sonic atmosphere of clenched-fist roughness, one can find stark beauty and honest emotional value in the lyrics of lead singer Elias Bender Rønnenfelt

Fans of textured, cinematic soundscapes and left-field hip-hop will find Ruinism the most satisfying, but Howard's style is distinct enough that adventurous electronic music fans in general should at least check it out; it's as polished and well-realized as any of his output thus far.