Davies somehow hasn't lost a step along the way. Between his inimitable acerbic wit (the withering "Poetry" is peak Davies) and his generous attention to quirky detail (his ode to the road trip "The Great Highway" is a highlight), longtime fans will find much to celebrate here.

Whether the band chose to do so to demonstrate their virtuosity, or merely their indecisiveness, has yet to be shown. Regardless, Collector is inspiring in its scale and complexity.

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

Bradley effectively draws you in with his voice and leaves you deep in thought with Changes, all the while grooving back and forth.

Exquisitely recorded (Segall might have picked up a few more tricks for his already considerable bag from Steve Albini, who had produced recent efforts) and inviting while still being mysterious, Ty Segall has another excellent stripped-down "folk" record to add to his (extremely) extensive discography.

No matter how many musicians he showcases, no matter how many sonic avenues he takes, no matter how many tracks he squeezes in, Thundercat sounds undeniably and defiantly like no other on Drunk

On Cupid's Head, the Field demonstrates his expert ability to move forward with his craft while still retaining his signature voice.

Blending themes of politics and modern science into his fashion of storytelling, My Finest Work Yet is a true tour de force.

While more uptempo than his fans may have been comfortable with in the past, the project has a noticeable sense of growth and maturity about it. Coupled with incredible production, The Wild reaffirms why Raekwon's been so revered all these years.

The Chats say they don't try too hard while writing lyrics, but in this case, the simpler and less ambiguous the better. High Risk Behaviour is a slam to the skull with each stomp of the kick drum.

The album finds Knxwledge stretching in unpredictable new directions, while also maintaining the soulful throwback sound that garnered him so many fans in the first place.

Despite its name, Agricultural Tragic is also deeply comedic. That, along with its irresistibly catchy alt-country rhythms, make it one of 2020's most well rounded and re-playable releases.

The album, one of Wolfe’s best, is a powerful reminder that you are good enough, strong enough and brave enough to be mighty, authentic and free.

Young rappers take notice: you want to sound like this when you get older.

Spiral in a Straight Line is an album that represents the logical next step for a band who have honed in on what works — not reinventing the wheel but finding subtle ways to improve on what Touché Amoré is and what they can be.

With a staggering 18 songs, Vessel may appear daunting at first, but quickly proves itself to be a sharp and smooth listen.

Sometimes sunny days need bittersweet soundtracks to make them better. Gold may turn grey, but not in the hands of this duo.

On Dawnbreaker, ten tracks elegantly come together to tell the story of a person at the crossroads of their life, and a quiet struggle towards contentment.

Never before have the band felt so complete and realized in causality of their sound than on Modern Mirror.

A fluid release, a chilled-out, soulful take on the Charlatans' psychedelic sound complemented by muted horns and jazzy keys.

Unsurprisingly, the results are some of Crutchfield's biggest rock'n'roll anthems yet.

Reflektor goes after this eternal, existential tension in masterful strokes and is a significant musical contribution by Arcade Fire, who continue to find ways to tap into universal expressions while making music that's refreshingly topical, infectious and completely their own.

Hval's knack for the conceptual can make her an elusive songwriter, but The Long Sleep offers plenty of immediate charms. Like the disco ball that hangs through the EP's first half, Hval breaks down her ideas and refracts them into something luminous.

Hell Can Wait succeeds as a reintroduction of sorts, showing Staples as a more focused and forward-moving artist who will surely outlive "them red roses."

Largely focused around his grandfather's piano with decaying tape treatments, Craig's layered vocals deliver a strong, unwavering response to the chaos in his life, while also exemplifying the vulnerabilities of being human. Red Sun Through Smoke is a perfect record for these times, as well.

It's hard to find a flaw on this album, quite frankly. It's personal, political, funny and the production is spectacular.

Pleiades' Dust is a stunning release, a cohesive, exceptionally crafted piece that captures the heavy aggression and incredible musicianship of Gorguts while incorporating more avant-garde elements and a fascinating storyline to boot.

There are plenty of other highlights to be raved about in 4eva Is a Mighty Long Time's massive tracklist. Do yourself a favour: pick up this LP and immerse yourself not only in its impressive breadth, but also its practically unparalleled depth.

It will perhaps be a surprising listen to fans expecting more upbeat material, but if you can surrender to the slower, weightier swells of this album, you might just find yourself floating.

Tying ambient soundscapes, borderline IDM and subtle snapshots of traditional music into a coherent, yet distinctive, body of work, this auspicious debut forecasts a promising future for Yu Su. Anyone would be happy to hop in a boat and sail these waters for hours and hours.

The profound sadness imbued in Mr. M, something that hasn't necessarily been as apparent on previous Lambchop albums, lends a consistency that produces a satisfying meditative effect.

Green to Gold is, at times, quite literal in its depictions of Silberman's personal experiences and other times intensely figurative, staring into the void of existentialism ("Am I incidental?" he asks on "Volunteer") with the kind of quiet assurance only the Antlers can evoke.

While "Casino Niagara" revels in the steam-blurred sensuality of R&B, Love Hallucination stands as Lanza's most sexually assertive record for its inclusion of "Marathon," a bratty pop confection.

A Loud Bash of Teenage Feelings might not be an earth-shattering departure from last year's full-length debut The Things We Do to Find People Who Feel Like Us, but it's a loud and beautifully fun ode to young outsiders falling in love, getting fucked up and revelling in their weirdness--and that's advice as good as any.

Wolf sounds like she's having the time of her life showcasing her range as a vocalist and songwriter.

It's noble to see Iron & Wine trying to take his songs into a different direction, but it's a shame that he lacks the confidence to allow these great songs to show off their personality without the help of inane studio glossiness.

Bestial Burden is immensely captivating and exquisitely structured, another unique offering from an unparalleled artist.

Harris is a sage escort to have along for the ride, and with the spare concrete signifiers and evocative open spaces she provides on Grid of Points, she's crafted a map for the full spectrum of human emotions and experiences.

instead of songs about past lovers and immaturity, Motorists are using philosophical ideas as fuel for their jangly indie rock.

There are a lot of simply beautiful songs here, but not unlike previous Camp Cope efforts, Running with the Hurricane is held back by sameness. ... Still, it's rewarding to see Camp Cope find the kind of personal and artistic growth that so many long for.

Panic Stations is an easy and enjoyable listen, with all of the energy and dynamism that fans have come to love and expect from Motion City Soundtrack.

Thank Your Lucky Stars is definitely a treat--we shouldn't look a gift horse in the mouth, as another new Beach House album is always welcome--but arriving so soon after Depression Cherry, it is bound to get lost in the shadow of its predecessor because frankly, it isn't nearly as compelling.

Her sophomore LP embraces the more straightforward impulses of her pristine pop songcraft — to results that feel more jubilant and whimsical than anything else she's ever done.

A welcome late-career gem.

It's both her loudest record and her most inscrutable, burning away some of the welcoming intimacy of her earlier work for a galaxy of cataclysm and stillness all its own.

It's a lurid, scuzzy, electrifying return to form.

Cruise Your Illusion sounds like proud, but humble music from a band doing exactly what they want on their terms.

Though at times a little too cacophonous, the nine-track LP is an impressive collection that remains true to its Afrofuturistic roots.

S/T isn't a continuation or reprise, but a reinvention. But either way, as far as '90s Polyvinyl reboots go, this makes two hits and no misses.

Lush is unencumbered and honest, putting emotional pitfalls on full, nuanced display while remaining streamlined and filler-free.

Although The Unraveling is a strong album thematically, songwriters Patterson Hood and Mike Cooley do little to push these songs forward sonically, as tracks like the Replacements-lite "Heroin Again" and the nightclub crooner "Grievance Merchants" can attest. Nevertheless, on The Unraveling, Drive-By Truckers deliver another socially charged to-the-bone manifesto that sticks closely to their newfound credo: If the country's still broke, keep trying to fix it.

While Eight Gates seems mostly germinal and is not the ideal introduction to Molina's work, fans will likely forgive the album's inchoateness and simply appreciate another dollop of the artist's distinct melancholia — nine tunes that underscore his attunement to suffering, inconsequence, and the brutality of the corporeal world.

Maya simply blows any of Frusciante's previous electronic efforts out of the water. He has somehow pulled an IDM-infused jungle record out of his backside that could easily rival any of Squarepusher's.

Though it's not pushing boundaries, Reluctant Hero proves metal can be catchy without being stupid. If melodic groove metal needs a hero in 2020, it's Killer Be Killed.

It's questionable whether Chvrches' sound can survive and stretch any further for future material, but for the time being, The Bones of What You Believe is an impressive slate of sonic pleasures from a young band still experimenting with a room full of synths.

The Sun's Tirade is pleasant, but it's not timeless.

METZ are an animal that's evolved to its benefit, with an appetite that's more refined and teeth that are still razor sharp.

There's no doubt Good Time OST absolutely sounds like a movie score, but every single track here stands on its own, providing an intensely emotional punch to the gut.

Belong is a welcome addition to Jay Som's discography, and will undoubtedly solidify her reputation as your favourite pop singer's favourite pop singer.

While BE is a slight departure from BTS's usual offerings, its more matter-of-fact and laidback vibe could pull in new fans who are looking for music to relate to in this crappy year.

Nothing is off limits, and their chemistry on wax continues to be just as powerful as it is in real life. It's not only a top-to-bottom banger, but it's also relationship goals.

On Are You Alone?, Majical Cloudz are at the height of their powers, opening themselves up fully and inviting the listener in. They sound obsessed, and "okay" be damned--it feels just right

A tight 12 tracks that show the artist at his most approachable, romantic and optimistic.

This is highly listenable, but equally disturbing.

A daring and decadent series of witch rituals, The Eldritch Dark is one of the finest examples of the doomy occult-rock resurgence.

It's a feel-good record with intricate, heartfelt tunes, and effectively spreads the gospel of the church of Spacebomb.

At his best, he updates the Allman Brothers, splicing in just enough of the Bakersfield sound, without sounding nostalgic or dated.

Side Effects is largely devoid of these big bombastic moments, save the seven-minute incision "NY Money" that centres the album. Nevertheless, White Denim hurtle through the record's nine songs (as brief as many of them are) at a pace that can't help but keep the listener engaged and excited for what comes next.

With every moment of unflinching social commentary, the Linda Lindas let listeners in to the smouldering embers of youthful promise we all have before the weight of the world eventually crushes our spirit.

Thunderstorm Warnings takes everything the Besnard Lakes have ever done well and provides it in abundance. There's nothing here that they haven't done before, but no one else has ever come close to encroaching on the band's niche of colliding intrepid Rush and King Crimson-style prog with the atmosphere of Montreal's storied post-rock scene, so why change now?

This record is a far cry from a mocking treatise on performativity; it's strongly felt, unceasingly surprising and just a whole lot of fun.

The album's blend of country, pop and soul is both classic and classy.

With WORRY., Rosenstock builds on last year's We Cool? not by dealing himself a new hand, but by stacking his cards a little higher. The fast songs are faster, the slow songs are slower and the big songs are bigger.

Manic is her most personal album to date.

It's rich and endlessly rewarding. i,i brings together Justin Vernon's evolving, career-spanning vision for Bon Iver into one satisfying, defining work.

The Hum Goes on Forever finds the Wonder Years doing what they do best and doing it a bit better each time, all while raising the emotional stakes to make each record feel newly important.

Rays of light shine through on the glitzy, sparkling "So Clear," where she realizes after "ten thousand days" — as in, the late-twenties — fucking up is necessary to incite change. At this point, Folick looks back at the first half of the album with a fresh, wisened perspective. In doing so, it feels euphoric to see the extent of her growth.

The textures here are even a little richer than before, the skill both more and less obvious (they have achieved that sought-after "effortless" quality), the dramatic ebbs and swells even more dramatic, the rock elements even more seamlessly integrated with electronic and orchestral arrangements and songs combining even more smoothly into a fluid whole.

All A Man Should Do is the band's first album in three years and could do with more of the tenacity that has made them crowd favourites, and less of the self-pity.

Although Sharon Jones & the Dap-Kings are brilliant Motown/Stax revivalists, their stalwart '60s soul/funk, at times, hits the inevitable yawn note.

Focusing on tracks from their 2012 album Slaughterhouse, Segall's band keep things relatively tight in structure and loose in delivery, giving listeners a keepsake version of a gritty, sweaty, earsplitting rock show.

Wistful and introverted themes abut against a handful of more fraught moments, where the memories turn from monochromatic to colourful clusters, like autumnal avalanches of melody.

A hip-hop blues record is an interesting concept and in Koala's nimble hands, a unique listening experience.

The majority of these beats hit to hurt, and though the emotional Future that listeners have come to know through past cuts "Throw Away" and "My Savages" has been dialled back, the honesty and vulnerability come through when it counts.

Animated Violence Mild is a powerful collection of music made in response to a phenomenon that is too pervasive to ignore in the world today, and one well worth the listen.

They may no longer be cutting edge (who is these days?), but Autechre's intricately psychedelic pieces are still chock-full of detail, intrigue, wit, intensity and poise.

That's not to say Young Blood is bad, but mediocrity shouldn't attract attention so fast.

Simply put, Bushcraft is the best Converge worship since the Power and the Glory dropped Call Me Armageddon in 2004.

It's difficult to see another album topping Bakersfield as this year's best pure country release.

It's a smothering, enveloping textural experience, alternately threatening to cocoon or drown the listener.

A Series of Shocks shoots for a different kind of looping hypnotism but lands slightly short.

The Story So Far haven't reached for anything radically new on their self-titled album, but they've created a powerful listen that stays memorable and engaging throughout.

Written, performed, and produced solely by the artist, Barnes' debut is a percussive gem saturated with guttural synths. It's a distinct piece of electro-pop that deserves close listening.

Unlike those of many of their contemporaries, this album isn't offering much faux hard-won wisdom, and there's no late-night barstool proselytizing to speak of. Instead, Start Here channels the naïve wonder, genuine openness, and hopeful abandon of post-adolescence.

McGuire's reputation doesn't need any further solidification at this point, but Beyond Belief is another worthy instalment in his hugely respectable catalogue.

The great flaw of this album is that it isn't a concert, and the listener is not right there with the band; it feels disconcerting to be listening to an album of alternately rollicking and mournful populist sing-alongs while alone in one's living room.

Rawlings' and Welch's music always feels like a return visit, and Poor David's Almanack in particular seems perfectly suited to tack up on your wall and consult at home.

It takes a few spins for the subtle charms of Life Is Fine to fully kick in, but it rewards patience. It may not quite match the sustained brilliance of seminal '80s albums Gossip and Under the Sun, but this is another fine effort.