Apollonia works through numerous styles that easily complement each other, while being distinct enough to stand apart. With 18 tracks to wend through, the effortlessly experimental affair speaks for itself.

It's bound to thrill longtime fans, and anyone looking for some relief from the suffocating smoothness of most mainstream country.

Despite their proficiency, the Messthetics' individual talents don't entirely gel as an ensemble yet. Their debut is flashy, but it won't bring them out of the shadow of Canty and Lally's more famous projects.

As there's been no sign of new material from Paradinas in the past half-decade, Challenge Me Foolish is just interesting and familiar enough to keep µ-Ziq fans satiated, even if it is inferior to Royal Astronomy.

Although the band haven't really made a notable album since the close of the '70s, this ten-track, 42-minute LP stands as some of their most focused and stylish work to date.

Fresh and ambitious without taking a step too far, Sister Cities is the Wonder Years' most fully realized work, and an artistic statement that deserves to be taken seriously.

"Psycho Star" and "Neverending Sunshine" are the more dance-y tracks that make The Other much more vast than Thomas's earlier work. Lastly, "No Man's Land" is a mesmerizing sendoff to end the album; slow and triumphant, by the time it's over you're left with a lasting impression.

There's Always More at the Store is a solid addition to Holland's discography, and hopefully there is indeed more where this came from.

There's plenty to bliss out on here and Holy Wave prove strongest when they focus on the emotional core of their songs as much as on the waves of sonic exploration.

He has his own sound and stands out as an artist, with this album possibly being the one to distance himself from being overshadowed by other Chicago rappers. He does hold it down for showing his upbringing through his music as a Chicago artist in a more authentic way this time around.

As the album comes to a close, "Rest" and "Hidden" begin to work off of fuzzy, pulsating beats and slow, trancelike synth passages, proving that Rival Consoles certainly holds a blueprint to the dreamworld contained within Persona.

Tinashe's Joyride is a stop-start journey that doesn't quite stall out, but does feel like some ground has been lost. It does move, however, and it will be interesting to see where things go from here.

Much of The Lookout is subtly fraught.

Isolation works because Uchis displays impeccable command over her voice and her style. She bends genres to her will rather than allowing them to absorb her identity, making for an impressive effort that will only improve as it ages.

A dizzying array of sounds and vocals that probably would have come off as a sonic mess if not for Mouse on Mars' crystalline vision.

Loud Patterns is an overtly ambitious first album, which fittingly captures Molleson's "difficult to define" approach.

They avoid mere imitation, but a sense of aimlessness still floats through the record.

12 is arguably the most well-rounded album they've made since 1999's underrated Between the Bridges.

Iit's her softer singles that add a new dimension to her artistry. While Cardi B's own relationship with Migos's Offset has been thrown into the spotlight, Invasion of Privacy feels like her Lemonade moment, one that magnifies her insecurities for public consumption.

From start to finish, the album is a mix of complete swamp-rock songs, only to be broken up by confusing, short bursts of instrumentation.

Everett has always been loathe to stand in one place for too long so it's quite possible that we'll see yet another side of him in a matter of months. For now, The Deconstruction is a rather rote and lackluster return.

Yes, Erase Me also features more singing and less metalcore than has been standard in Underoath's career, but it straddles Sleepwave's experimentations, landing on the catchier side ("Rapture," "Wake Me"), more energetic side ("It Has to Start Somewhere," "Hold Your Breath") or somehow pushing both extremes ("In Motion," "Sink With You").

Golden is bereft of relative stinkers, but there's little to bring listeners back.

A charming and disarming album.

Bark Your Head Off seem like a gamble, given its broader palette. It only takes a few listens to realize that it is really the fulfillment of the band's potential, though. ... Hop Along are truly a band at the top of their game.

While Sex & Food is a disjointed effort with Nielson's usual ingenuity wavering at times, fans will undoubtedly find favourites in certain tracks. It's an anxious, up-and-down affair, with moments of reward sprinkled within its lethargic haze.

It is an album dense with meaning, with excellent, full-throated singing, tempered guitar playing, and an elusive, decorative prettiness.

Ortega's musical composition revels in an outlaw spirit, echoed vocal acoustics and a Spanish waltz. She masters the equilibrium and stability amid light and dark, which is regularly touched on in her earlier works.

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's a cerebral style that takes a certain willingness to go along with, but if you do you'll come away with an enhanced notion of what contemporary techno has to offer.

New Material's subjects are too broad for incisive commentary, and its themes of disenfranchisement and helplessness are played too straight for dark comedy. Ultimately, it's about as expressive as those one-word titles would suggest.

Virtue is as fun as it is challenging and is both catchy and complex.

McMahon's most deeply personal work to date.

In adding back into the mix that layer of unpredictability that's served him so well, the EP adds yet enough layer of complexity to an already diverse discography--while placing a few more musical bullets in the chamber for the next world tour.

Sometimes the way Nash has structured the songs becomes hard to follow, or downright abrasive, as heard in the vocal changes in "California Poppies." Yet there is always a feeling of purpose dictating the clear vision behind "ugly" moments.

Drank is an interesting take for fans to indulge in, but not an album you're likely to take any inspiration from, given its lack of real exploration.

This beautiful collection is a fitting tribute.

There's a distinct old-world Havana big band feel here, filtered through a postmodern lens. Steered by the vocals of Pepito, piano melodies sparkle, brass blare bold and percussive sounds punctuate a overarching vibe of joy.

The 67-minute album features 25 remarkably accessible tracks.

The good news is that even without Adrian Younge's luscious music to draw from, Premier has found a clearly ample replacement with the more eclectic, less retro up-and-coming composer Antman Wonder. All that, along with Royce's ambitious spitting, make PRhyme 2 a prime contender for the best hip-hop LP of 2018.

At 12 tracks, Radyo Siwèl doesn't overstay its welcome and is speckled with enough gems to leave a lasting impression. It's a bit cliche to say Mélissa Laveaux is "one to watch" yet, here we are.

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

The resemblance between J.D. Wilkes and the Legendary Shack Shakers is presumed, but Wilkes fixes his mistakes in After You've Gone with Fire Dream.

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

While not a classic, Sex & Cigarettes is a solid effort from R&B's true queen of heartbreak.

The band maintain a proficiency at writing catchy riffs and intoxicating grooves, merging the likes of Sabbath with ZZ-Top, but the feeling of repetition, combined with a lack of impact like they used to have, may leave fans wanting.

Longwave channels the low-key indie pop sound of (Sandy) Alex G and Frankie Cosmos. Bonny Doon have proven their ability to transform their complex songwriting and vivid melodies into experiences that resemble those long hours of elusive conversations we crave.

On Hormone Lemonade, Cavern of Anti-Matter have created an inventive piece of art that could have benefited from a bit of self-editing and a some of that old style vision.

[Space Gun] is a little more what you would expect from a GBV album. You have some sing-along mainstays, including the title track and "Blink Blank"; it's slightly different, while comfortingly the same. It already fills you with nostalgia, with the album not yet attached to any specific memories.

While his intentions may have been pure, Snoop's attention to the assembling of this album needed a little more love.

Even when an experiment fails, it does so in intriguing and unpredictable ways.

While not a particularly daring record, old school Fratellis fans will unquestionably be satisfied with their most consistent release in well over a decade.

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

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

Jericho Sirens is truly spirited rock'n'roll that hits you directly, but it's also enigmatic and increasingly rewarding the deeper you dive. The arrangements are mighty and confident, while the cast of characters and scenarios are compelling and provocative, anchored by Froberg's impassioned screaming and cool articulation. Comebacks are complicated, for bands and fans too, but this is one for the ages.

It's a tasteful and mature evolution for one of the genre's key names, and long-time fans will have no problem assimilating this well-crafted, down-tempo album into Moby's already eclectic body of work.

Optimistic but never mawkish, August Greene distinguishes itself from other socially conscious albums with its practical approach. It's motivational music that, for once, makes change feel less elusive.

Many of us are still absorbing last year's mighty Providence LP, along with the accompanying remix EPs, but Sunder adds even more water to the sponge, serving as yet another reminder that Fake never fails to amaze--even when he's recording on the fly.

Although there's some room for improvement, Victory Lap is still a solid effort with the promise of better to come.

There's a Riot Going On is an exceptional addition to Yo La Tengo's legacy, a timeless classic.

This release has the same charge as the early entries of Ali Hassan Kuban or Konono No. 1, both who set the bar for raw energy. The colonial demarcations of Africa have a lot to answer for, but this fusing of Songhai, Fulani, Hausa and Tuareg peoples has created gifts worth having. This is amazing music.

The album is so riven by corporate overtures that it bears no resemblance to its prequel.

Automata I cherry-picks from some of the best elements of previous Between the Buried and Me records, while injecting their masterful sense of musicianship and structure.

This is Of Montreal's 15th LP (to say nothing of their many EPs and compilations), and it's neither their most sonically confrontational work, nor their most viscerally emotional. It's pleasant and poppy, but if you don't get around to listening, no sweat.

Al Jourgensen's signature vocal bark remains unchanged, but things have slowed down musically. Fans of Ministry's lightning-fast thrash moments will be disappointed by the record's grinding pace.

Tory Lanez manages to inject Memories Don't Die with a few quality tracks, but overall it misses the mark on classic appeal.

Ultimately, All That Must Be is a glowing album that plots the psychological journey of its creator through the often un-navigable waters of change. Yet somewhere in the Bermuda Triangle of real life, Fitzgerald found his strongest compass.

This is a fluid expression of both jarring and accessible concepts that hit you square in the jaw. And like the two previous albums, these Scots still sound like nothing else out there.

Although Rolo Tomassi's four previous records are phenomenal in their own right, this album emits a more structured sense of chaos than before. The days of the band's video game-like synth tones living amongst hardcore mayhem are long gone, replaced with a more developed sound and sophisticated energy.

Firepower is exactly what you would expect of Priest almost 50 years into their career. It's well-produced, expertly executed and understandably quotidian.

Despite the dream team behind it, American Utopia has much to like but little to love, perhaps its most apt, if unintended, critique of the country itself.

Moving forward from that meandering pace [on 2016's Thought Rock Fish Scale], I'm Bad Now finds Nap Eyes picking up their feet a bit, without sacrificing the subtle psychedelia that makes their songs so enticing.

On Black Times, Seun Kuti continues to be one of the most important voices in music, by simply reinforcing to us what we already know.

It's clear that Jonathan Wilson's naked ambition has reached a zenith, for better and for worse, with Rare Birds.

The highs on How to Socialise are meteoric while the relative lows are kept afloat by its members' musical prowess and McDonald's ability to wring tension and drama from personal adversity. Far from the stand-offish listen its sarcastic title suggests, expect the album to win Camp Cope plenty of new friends and admirers alike.

Aside from her moving rendition of little-known folk artist Zoe Mulford's "The President Sang Amazing Grace," Baez chooses songs that are close to her heart and represent her long journey, political struggles and ideals succinctly.

File the album in your new classical section, primarily because of Simon's world-class technique. But given the instrumentation, it could just as easily be marketed as an ambient or jazz album. It would be no less great a success.

All Nerve remains stuck firmly in a box of the band's own making, both to their benefit (this is most definitely version of the Breeders fans know and love) and detriment (a couple songs are kind of boring).

While Suuns' albums tend to reluctantly hold your hand while guiding you through their universe, Felt reaches out and pulls you in. It may even make you dance.

It's an intricate record, one filled with peaks and valleys, high points and low. It gets a little messy at times, but it finds beauty in it all.

At their best, the Men imbued borrowed styles with urgency and fervor. Drift attempts to conjure the same spirit, but it's too divided and derivative to be vital.

Le Kov feels more commanding than 2014's Y Dydd Olaf, where Gwenno revised an obscure Welsh sci-fi novel into a concept album of '80s-tinged ice pop (sung mostly in Welsh; only its closing track was in Cornish). Here, there's a fuller array of sounds at play, and its vision feels more confidently achieved.

Thorn frames Record's songs within her experiences as a woman and mother, allowing for an immediacy to the music, which traces her first brush with guitar music through to a simple desire to enjoy dancing on a night out. ... Tracey Thorn possesses a lyrical and melodic intuition that shines.

Moaning establish their sound while dodging redundancy on their debut.

Everything works here, in its own unique way.

While it's a huge pleasure to hear him pick up where he left off, this isn't the overwhelmingly triumphal return one might have hoped for.

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.

Even when the band vamps for too long on "Home Alone" and their "Like a Rolling Stone" cover, the large roster of guests and collaborators rarely feels unwieldy. Instead, A Productive Cough draws strength from its collective spirit.

Superorganism easily meets and exceeds the hype surrounding this talented group.

There's room for improvement for the melodies and beats, even though the subtle instrumentals help amplify Cozz's voice and his champion storytelling.

The whole collection works to move beyond predictable conclusions though, and as a result, each listen holds a new discovery.

While it isn't a huge departure from Soccer Mommy's early work, Allison is promptly hitting her stride and clearly gaining confidence and showing it with strands of snarkiness and angst mixed within her delicate, vulnerable songs.

The atmosphere of Lo Moon, which melds gloom with instrumental experimentation and a welcome pop sensibility, has gifted listeners with a record that stands apart. It's got a glow all its own.

Repetition in lyrics throughout Basic Behaviour amplifies the anxiety and restlessness that seem to fuel the record entirely. It begins to feel like an interrogation, the need to know, the frustration and a thirst for clarity. The melodies reflect these pangs, too, as the guitars twitch or tremble, trying to make sense of it all.

Ultimately, the album sounds confidently beautiful. While some may not be as memorable, songs like "Meadow Song" make this album one of S. Carey's best.

Its production quality is equal to Two/Three, but it contains few surprises for older fans. As such, it isn't much of a progression, but it does feel greatly satisfying, and not only for the comfort of finally completing the trilogy.

Tahoe is the kind of ambient album we've come to expect from Warmsley--mostly due to the fact that it's not your typical ambient album.

American Nightmare is not convincing or consistent.