With For Lovers, Octo Octa has delivered a set of tracks that are not only dance-floor-ready, but deeply personal and moving, creating a listening experience that is ultimately fulfilling and one that will be urging you to revisit it more than a few times.

The influence of R&B is like a silky-smooth cloud over the proceedings, raining drops of liquid gold that permeate the music. Those looking for the energy of Da Trak Genius might be disappointed by the polish, but true footwork junkies will find shining moments worth drooling over

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.

The couple's adoration for each other is every bit as potent as their social consciousness, on "P.A.L" and "Fruitful," two of the cosmic quiet storm cuts that comprise the album's second half. And when Aloe Blacc drops by on "Smile," something's seriously amiss if your body doesn't move.

As short a release as it is, the tight six-track EP packs a punch. This is essential material for both country listeners and fans of Orville Peck, who, through his dedication to authenticity in aesthetics, joins the likes of Shania, Reba, Dolly, Johnny, Kenny, Merle, Hank and countless others among the genre's greats.

The songs of Entering Heaven Alive probably won't become the genre touchstones that White's heavier tunes are, but they're a fresh glimpse into a songwriter who, long considered a retro traditionalist, now continues to get more unpredictable with each album cycle.

As a genre-defying work, When No Birds Sing is the perfect middle ground for two bands who relentlessly battle against the lazy pigeonholing of scenesters and critics.

Rich and vibrant musically while raw and emotive lyrically, Ultraviolet is Kylesa's highest achievement to date.

On COW / Chill Out, World!, the Orb's easily digestible and absorbent songs make it simple for the listener to take the album's titular advice.

The album has all the material necessary for a great release; it's simply lacking in its arrangement and execution.

Tracks like the funky "Can't Fight the Feeling," "Love Jones" and "I Feel a Change" aren't '60s soul throwbacks so much as they are genuine articles, with the now-trademark Daptone sound feeling fresh and vintage at once.

It's a true joy to hear talented women juxtapose their obviously more gifted vocals with the rough-hewn Prine in dramatic, textured contrasts. On For Better, Or Worse, they help this old mailman deliver once again.

The upbeat Euro-tone with a dark edge that characterizes Tenderness is tidily executed, evocative and catchy to boot.

Bonny Light Horseman's eponymous debut is rich in folk history and offers a fresh take on centuries-old traditions. For trad-folk fans who like to dig deep, this record is a perfect launching point — there are endless avenues of history to be found here.

The whole album is chock full of songs that scream road trips and beach days, pulling from a grungier vision of Sheryl Crow and latter-day Liz Phair's fun-loving pop rock, shot through with a synthesised yet vulnerable twinge that was already apparent on Lahey's first two albums.

The story goes that Alabama red clay sticks around, its residue leaving a stubborn, permanent presence. The Red Clay Strays are here to stay, their story written in a cloud of red dust that's far from ready to settle.

The record does play a bit like a return trip through familiar terrain, but for the most part, Love You to Death finds Tegan and Sara offering another solid soundtrack for summer romances and road-trips alike.

There is plenty to enjoy here, though many of his long-time fans will be hoping for a return to the bigger picture next time out.

Ash doesn't feel as world-shifting or momentous as their debut, but operates on a more intimate level.

Alberta Cross' familiar '70s rock soundscape is lush and relaxed--ideal for the self-reflection that's fostered by long drives, Sunday afternoons and quiet dinner conversations with friends.

Exhausting Fire synthesizes and fuses those sounds with their more doomy roots.

Rambunctious and irreverent, Oxymoron blasts bullet holes in the theory that gangsta rap can't sound fresh for 2014.

Overall, Vol.1 is a satisfying snapshot of a label that does a very specific sound very, very well.

Set against the billowing fog, blinding strobes and distant sirens of 3 a.m., Scuba's fabric 90 is a versatile mix that draws heavily on the experiences now held forever captive behind the closed doors of the legendary nightclub.

Shades spotlights a band with diverse influences and the ability to cogently and cohesively re-contextualize them. Additionally, the album features one infectious melody after another, Raisa Khan emerging as one of the more intriguing voices of her generation.

While not everything works out as intended, the seeds have been sown for growth and refinement. The album does a great job of acknowledging the band's past, and where one can expect them to move forward.

It's heady stuff to dive into, and Williams isn't particularly concerned whether listeners sink or swim, so long as they get wet.

Suffice it to say, Zygadlo comfortably defies the sophomore album slump with this one.

Sure, some of the performances aren't perfect, at times sounding downright ragged and sloppy, but that's the glory of a loud, fast and sweaty live punk rock show, here captured in all its glory as the band plough through songs from all eras of their history, finding the common thread between the old basement-punk anthems and the slick arena-punk rockers of later years in a shockingly profound manner.

This ain't the easy listen they've become known for, but it is a rewarding one.

With (watch my moves), Kurt Vile possibly creates indie rock's first ambient masterwork, a piece of art that is surprisingly and lovingly languid, even for the king of slack.

In dialing back the chaos a bit, the band have made room to let the smaller details of their dense and intricate music shine. It may have taken six years to deliver, but Congrats was worthy of the wait.

Blasts of powerful guitar and rhythm that sounds like two, sometimes three percussionists carry along their tradition of satisfying grunge here, but the songs feel more cathartic than celebratory, the crashing cymbals and flurry of toms reflecting the honest, raucous lyrics.

The trio's intent is crystal clear here: make hypnotic murder rap that evokes a screwface and head-nod. If horror movies aren't your thing, though, Without Warning might not be the rap project for you.

Karma & Desire never comes close to being a dance record — it's much too opaque and fragile and weird for that. Instead, listeners are left with a longform thinkpiece that's expertly conceived, well executed and brilliantly sequenced.

The Haunted Man is defined by a more refined sensibility, drawing back the playful clatter of her first two albums in favour of sparser arrangements and a slightly elegiac tone.

Despite any nitpicky issues one may find with In the Morse Code of Brake Lights, it's refreshing to see the New Pornographers, 20 years into their existence, still trying to swing for the fences.

With Hardcourage, FaltyDL proves that he still has an endless arsenal of tricks up his sleeve; it's just what he chooses to wear on said sleeve that makes all the difference.

Once More With Feeling… acts as both a great introduction for new fans, highlighting their DIY aesthetic and their ability to subvert their own song structures, and as a nice addition to Ought's already great discography for existing fans.

Though not every song on this overlong album is a winner--if the band has a weakness, it's in crafting enduring melodies--the bright, instinctive performances more than carry the thinner material.

Townsend takes his fusion of weighty progressive metal and string, horn and choir sections to lofty heights here, not unlike what he achieved with Epicloud and Sky Blue.

The album, the first effort from the Poets in 20 years, is just as blunt and angry as their past work. But it is tempered with a patient wisdom that can only come with time, experience, and the gift of hindsight.

While it may be early to qualify his style or sound as timeless, it's managed to stand the test for the past 10 years and he's done nothing but hone his skills.

Sheff's lyrics, while typically verbose but economic, are more rambling here, but it's refreshing to hearing him cut loose.

Ghostface's usual penchant for free-associative wordplay is a bit hemmed in by the structure, but he gets plenty of help to ensure the storytelling remains compelling.

Sympathy for Life isn't a failure as much as it's just a step down from the indie rock podium. There's still a lot to admire for longtime Parquet Courts fans here, while the rest just requires some patience and a bit of unconditional love.

Teeming with hooks and lyrical calls to arms, The Things We Do is a unique record, one that rages with youthful vigour, but which couldn't have been made by anyone under the age of 35.

Beams may not be as tantalising as 2010's excellent Black City, but it is a highly enjoyable album full of solid songwriting and that familiar sexy bass sound that should complete Dear's gradual crossover into the indie mainstream.

Mother finds Xylouris White quietly questioning musical structure and expectations. They remain trailblazing outliers with a supernatural power to express themselves as one and, with a warmth and welcoming generosity of spirit, invite listeners to step up and out of their comfort zones.

Dionysus sounds both ancient and contemporary at the same time, and there are not many groups that can show so much reverence for ancient traditions from a modern music perspective. Their eclectic approach to songwriting goes far beyond contemporary music genres, and that is ultimately the record's biggest asset.

Like sun shining through the clouds after a storm, Isa is equal moments tumult and bliss.

As temperamental as the band may be, for those willing to indulge the band's proclivities, High Anxiety is a highly enjoyable filth-encrusted bludgeoning and thrilling catharsis of angular grumping.

While some may miss the soul and jazz chops of last year's collaborative Piñata, it's safe to say his solo risks have largely paid off.

Such a wide breath of influences can come across as convoluted in the hands of less-skilled musicians, but Darnielle has always had the right people around him to understand his vision, whether its voluble tracks like "Rat Queen" or the stripped-back shuffle of the title track.

On her fourth album, inventive and demented singer/songwriter/guitar hero Marnie Stern whips up a potent batch of quirky, invigorating and, at times, beautiful new material.

To the casual listener, it may sound like a shadow of their greatest work, but fans will find it rewarding.

Other Worlds proves Bergsman has a good thing going with these inspirational voyages, leaving the listener besotted and desperate to know just where she'll head next.

This is another solid effort from the man born Curtis Cross.

Bilal finds an excellent match in Adrian Younge for the type of musical exploration he's embraced with his more recent output here, and In Another Life offers yet another example of Mr. Oliver's incredible range.

With subtle rhythms and interesting melodies, In The Magic Hour delivers both lightness and depth in one hauntingly beautiful recording.

Pythagorean Dream is a qualified success because it shows Chatham moving forward with his craft, if only by simply reaching back.

On TYRON, slowthai sounds more together and present than ever.

On their 10th album, The Former Site Of, bandleader A.C. Newman has honed his playful gibberish to the point that it's become his signature style, delightful rather than simply a way to fill the syllables of his towering power pop melodies.

Atmospheric grooves is the order of the day with Khruangbin's latest; by way of psychedelic rock, Con Todo El Mundo's got the groove and grips it tight.

It's all delivered with such fresh energy and so many original production ideas that it's honestly hard to gripe too much. If you've been vibing on Hannah Diamond's Cook-produced debut Reflections recently and were somewhat baffled by 7G, look no further than Apple, a bold and exciting album that boasts focus as well.

It's amiable, deceptively dense and, ultimately, rewarding.

On The Air Between Words, Martyn comes off tranquil, playful and completely in control of his own kaleidoscopic world.

Occasionally, Willner's penchant for repetition is taken a little far here, but in most cases, it serves to heighten the drama of changes when they do come.

Waiting Game is a smooth and smart shift for an outfit that was doing just fine prior but could stand to switch it up. Whether soft reset or brief respite, it's definitely Junior Boys' most tasteful and interesting album.

Though less adventurous than on earlier work, Parquet Courts still manage to deliver a unique record that builds on the foundations of the past.

As a mystical and cosmic album, No York! sheds light on Blu's inspiring sonic dexterity.

At its worst, the effect is soporific, but if you're looking for a comforting, cushiony soundscape, Cala is good company. It's when Regan opts for crisper, more invigorated sounds, though, that the album really shines.

While I Was Born Swimming never goes into the unfamiliar, Williams' gushing charm is more than comforting enough to feel what it's like to exist somewhere in between destinations.

Deradoorian's songwriting pulls together colliding ideas and sounds, and it works on the eccentric and restless The Exploding Flower Planet.

Cape God does such justice to the patented Allie X sound, refining and mastering it to the extent that it makes all that came before it feel like a proof-of-concept for this project. Pulsing keyboards clashing against string instruments and met with intoxicating vocals, Cape God sees Allie X reach her final form.

Each song stands out as its own unique piece of the puzzle, a quality that is easy to lose on electro-pop albums. The standout tracks will continue to impress while the rest will add to an increasingly impressive body of work.

This is new, fresh, young rap with an edge.

Overall, the album's production is too polished, which somewhat contradicts the band's filth-caked persona. Instead of their lovable, sloppy sludge with festering warts and all, Nomadic Behavior is squeaky clean and coherent, with a surgical gravity to each and every downtuned chord.

Coming Home is a star-making vehicle that is solidly crafted, robustly traditionalist and palpably soulful. This is not just a nostalgia act; this is music from the heart, and the soul.

While the rest of the album blows past you at breakneck pace, there are enough moments where the band let their deeper side show. It keeps Toy interesting.

At the core of Bottle It In, the 38-year-old husband and father of two offers his family the comforting illusion of his presence, a chance to hear his voice, and a reminder that they're with him, wherever he may be.

If all of the National's albums were placed in a Venn diagram, Laugh Track would sit at the direct centre — neither expanding the sound à la the sweeping expanse of 2019's I Am Easy to Find, nor fully retreating to the straight-up indie rock of 2007's The Boxer. Crucially, it re-establishes them as a group of long-time collaborators in line with one another, none of them standing out from the others.

Ghost isn't for everyone; they are deliberately, deliciously over the top and unapologetically dramatic, but if you dig their smoke and mirrors, then Meliora is just the indulgence you've been craving.

The showmanship and pomp of The Silver Gymnasium render youthful curiosity and naivety with dazzling honesty.

What makes Sun so exquisite is that Marshall finally sounds in control of her chaos.

This might not be their best work--that's still the cohesive, mind-altering Nootropics--but Escape From Evil finds Lower Dens continuing to push themselves into new sonic territory, the hallmark of any great band.

Whether Miller is singing on those funk-inflected highlights, or rapping on them with a flow that's airtight to their irresistible rhythms, he sounds like a would-be chart-topper, not to mention one of the most versatile and accomplished hip-hop artists working today. He also clearly has pop chops to rival those of his former flame.

Hackney Diamonds may not go down as an iconic Stones LP, but this late in the game it's basically a triumph by nearly every measure.

Whether it's the sing-songy Britpop and jazz on a song like "Out of Options'' or the contemplative soundtrack to a late night walk home on "So Tell Me…," Archives captures intense closeness and isolation, often at the same time in one song.

The best parts of the album, though, are the moments where it doesn't sound exactly like anything either artist has released before (songs like "My City," and closing pair "Big Black Heart" and "Dominos"), yet still shows two songwriters at the height of their talents.

Acts like the Cinematic Orchestra are sometimes dismissed as background music. To Believe refutes that completely. Its gentle warmth makes the work accessible. But once you've pressed play, there is no ignoring it.

No Better Time Than Now is a mature, immersive work that carries with it an intense emotional weight--the passionate, human energy of the live drumming dovetails beautifully with the optimism and spiritual healing expressed in the melodies.

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.

He has picked up the promising pieces from his last release, putting together a distinctive and more ambitious sound. Jenkins' hero, Scott-Heron, would certainly be proud.

Over ten tracks and 40 minutes, Post Tropical never picks up any steam, never comes to life. Mere gorgeousness is, it turns out, not quite enough to sustain a record.

The results show the oft-dramatic vocalist crafting some of his most meditative and emotional songs to date, as the high drama is cleverly delivered through pained phrasings and gently cinematic instrumentation.

While the album's emergence is wholly indicative of frontman Joseph Mount's supposed "need to feed his children," in Metronomy Forever, the band have nonetheless blessed the world with at least a handful of tracks worthy of even the snobbiest dance floors.

Rub is fun for a few listens, but it's hard to really fall in love with.