Testament just don't make missteps (the album could be a couple songs shorter, but that's my biggest complaint), continuing to craft thrash that's mature, heavy and aggressive in all the best ways.

The lyrics are murky--there are none of the plainspoken tales of domesticity that Lennox used to specialize in--but the burbling soundscapes and soaring pop melodies are gorgeous.

Fearless (Taylor's Version) introduces her younger audience to an iconic set of songs and feels like pure nostalgia for her older audience. This re-release signifies the beginning of Swift doing things her way, taking full control of her music and sharing it with fans who are eager to listen.

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.

On Felder, St. Werner is coming closer to melding his two personalities, allowing his Type A to influence his Type B.

It sounds more rigorously composed, but still with the swing that comes from live performers on un-quantized instruments, filtering the rhythms through their singular perspectives.

Despite electric amplifiers and a plethora of pedals, BIG|BRAVE have created an album that sounds like it's existed since the dawn of time. Tears will be shed and embraces are encouraged.

She may be the daughter of punk royalty, but with Twice, Hollie Cook cements her status as a principal figure in the UK reggae scene.

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.

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.

Seasoned hardcore listeners may not love this avant-garde approach, yearning instead for something in a similar vein of the breakdown-heavy Good to Feel, but CANDY still deliver a solid handful of unrelenting, uptempo jolts.

Fans of the group may be surprised by the subdued nature of singer Liam Corcoran's usually prominent acoustic strumming and bubble-gum pop harmonies, but Foolish Blood's low-end textures and diverse layers guarantee that the Maritime icons will remain relevant for years to come.

Love Letters isn't the next move many expected from Metronomy following the astute pop of English Riviera, but it's a logical move and likely the best one possible for a band as imaginative, unconventional and talented as this one.

As a whole, Stardust is Brown's strongest album since 2019's uknowwhatimsayin¿. This is a concise, confident and encouraging body of work that will instill hope in fans for what's to come.

High On Fire have been on a hot streak with their records in recent years, but their latest is far and above the strongest release they've put out to date. Their blend of thrash, tribal-sounding sludge and doom metal has fully flourished, but to see the band still stepping up their game this far into their career is a testament to the lasting legacy they've left in their wake.

Stunt Rhythms is by far an auditory treat.

While it's not quite a classic like his seminal late '80s to early '90s run, Everythang's Corrupt is a return to form, especially after Cube's rudimentary 2000s releases like Laugh Now, Cry Later and I Am the West. It's heartening to hear an icon with nothing left to prove rap with the hunger of a youngster so far into his career.

Titanic Rising may draw inspiration from the past, but it's ultimately a clear-eyed look at love, catastrophe and hope that's perfect for the present moment.

Visions of Us on the Land combines made-for-TV sci-fi soundscapes, Americana, pop, rock and indie-folk with thundering percussion, psychedelic synth, gospel choir and distorted guitar in a sonic palette that charms and mystifies.

Jukka's production style and Boucher's lyrics and singing are strong on their own, but together, their chemistry has led to one of the year's strongest debuts.

[The] few missteps evince the fact that Wale is finding himself again, treading through the high waters to realize his ambitions. And to that end, The Album About Nothing does more than enough.

Generations feature a magnitude of emotions, both raw and sincere.

The Lemon Twigs almost always use the kitchen sink approach on Do Hollywood, and it's pretty effective, too--there's nary a dull moment.

The only real drawback is that the album lacks the intrigue surrounding something as adventurous as their previous album. Daemon still has a lot to sink your teeth into, and fans of black metal and Mayhem should not miss out on it.

Roadrunner: New Light, New Machine achieves artistic exploration while maintaining the unmistakable hip-hop aesthetic without it feeling pretentious or forced.

Buoys requires repeat listens to appreciate fully, but those willing to dive deep enough will surely be rewarded.

Although it lacks the kind of Apple-friendly jingles that have made them such a smash, it makes up for it with palatably overarching political themes and sequencing that gives it the wildly entertaining feel of a circus show.

Pattern of Excel shows the latest brilliant incarnation of an artist who's sure to have many in the years to come.

Designed for finding communion with others while staying true to oneself, I Hear You touches the timeless with an ethos of openness, striking a vibrant and dynamic balance between familiarity and freshness.

Alvvays' debut feels like a warm and fuzzy memory, forging a deeper sense of nostalgia with each repeat visit.

The album is dripping with gritty, assertive synth work so gravelly and heady it plants itself deep inside you.

This is the 11th album from the now 50-year-old, and may just be his best.

That precarious balance between surrealism and sweetness, adept contributions and singular vision, and much more make I Made a Place feel like a must-visit destination — it's one of the best alt-folk albums to come out in years.

This will probably be labeled a folk-rock record, but at its core Elastic Days rocks.

With this fearlessly vulnerable, triumphantly anthemic album, Little Simz asserts herself among the queens of her genre--Janelle Monáe, Lauryn Hill, Missy Elliott and Erykah Badu. Stillness in Wonderland is a wonder to behold.

Standout tracks about abandonment/haunting ("Ghosting"), or the opposite ("Feel You More Than the World Right Now"), carry an elemental charge that dials right into a frequency of feeling that only the best crafted pop can discover.

Aside from a few less-than-strong features, Rap or Go to the League allows 2 Chainz, a veteran rapper, to use his powers to acknowledge a picture much larger than him--it's one that's rooted in his past, but is planting the seeds for the feature.

Despite its slightness, Broken Hearts and Beauty Sleep nonetheless shows Mykki Blanco as an artist with big ideas to go along with their big personality.

Despite the changes, many things remain the same, and fans can look forward to a solid third instalment.

Hamilton + Rostam synthesizes two distinct musicians for a sound that's ultimately greater than the sum of its parts.

This is energetic and essential listening.

Orchestra Baobab have truly mellowed with age--those expecting a rawer and urgent take on West African rhythms may come away disappointed--but Tribute to Ndiouga Dieng is a triumphant spin on their classic style.

It's a potent celebration of their past work and a capable endnote to the band's career, whether it truly is the their final release or not.

Through songs now considered longtime favourites, and ones that will now find wider audiences, Homegrown is now free to stand as a more organic, lovelorn harvest of the personal turmoil that influenced Young's revered mid-'70s output.

Compared to White's solo albums, Help Us Stranger feels like a low-stakes romp. And for a collaborative side-project, this is the best case scenario. White and Benson aren't trying to reinvent rock'n'roll, they're just bashing out some catchy tunes, and it's a blast to listen in on these old friends reconnecting.

Where Longstreth once isolated each of his artistic tendencies, he now seems more willing to let them occupy the same space, rubbing up against one another to create something altogether unique and truly joyous.

Real, Loveless's confident and poppy fourth album, builds on what Loveless and her band were doing on 2014's grittier Somewhere Else.

Metric have created from a point of questioning who they are as a band and what they have to give. Their new album is an exercise in dispelling that doubt.

Many Moons is another deceptively simple, cohesive statement from an artist who is becoming more accomplished with each release.

Freed from the confines of their regular gigs, Morby and Ramone go for broke, creating a record with hooks that just won't quit.

Hella is an easy LP to get drawn into and (just like all of his other releases) it's also a joyous adventure to get lost in.

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

The maturation of Bridgers' craft, and influence of her peers, is apparent on Punisher. The songs alternate between tightly wound pop-rock ("Kyoto") and a soft concoction of folk-rock ("Savior Complex") and both sides feel focused and sturdy. Bridgers keeps getting better and Punisher affirms this.

Massey Fucking Hall captures Japandroids in this unique (for them at least) setting at the peak of their powers.

As Wire albums go, Wire is very accessible and it contains nods to almost every album that has come before it.

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.

Deer Tick are so wonderfully straightforward and stripped of all self-importance that Deer Tick Vol. 1 and Vol. 2 manage to make up for lost time without compromising any of the acute writing or boisterous energy the band are known for. The records aren't epic returns to form that beg to be lauded; rather, they feel like four guys remembering how much fun it is to make good music.

To The Recently Found Innocent explores welcome new directions; rather than messing with a good formula, Presley has opened up to new ways of approaching it.

True Widow's newest album, Circumambulation, does a brilliant job of expressing the network of confused and sometimes dark emotions that make us human.

Anthology: Movie Themes 1974-1998 is a fine introduction to John Carpenter the musician for newbies, and a welcome re-visit for longtime fans.

It's their willingness to fall flat on their face while swinging for the fences that separates them from the focus-grouped inoffensiveness of their pop peers. The messiness of the whole thing seems to be the point, part of its audacity. In most artists' hands, that would be a recipe for creative bloat. Yet more than ever before the 1975 prove themselves masters of the form.

It all amounts to a strong album, one that should appeal to both modern, Editors-loving synth-rock fans, as well as older New Order, Joy Division and Cure heads who remember from whence it all came.

His care and preservationist approach to each arrangement gives everything an authentic vibe that transports you back to a much simpler time.

Between Ant's eclectic, subtle production and Slug's equally nuanced lyricism, Fishing Blues stands out as one of the best hip-hop LPs of the year thus far.

Pollen's deep cuts can't quite rise to the same heights as its singles, though they maintain a similar mood and prowess that gives the album life beyond just a couple music videos or haphazardly-ordered playlists. The main standout buried beneath the surface is the stunning "Gibraltar."

The vocal harmonies on Weirdo Shrine are eerily perfect, fading in and out of the driving instrumentals.

While the echoing melodica used throughout gives everything a sort of "Clint Eastwood"-y sheen, that's not necessarily a bad thing--if anything, it's evidence that Marching Church know how to create an atmosphere on par with far more experienced songwriters and performers.

While it can be a pretty heavy and involved listening experience at times, Undying Color should more than satisfy long-time fans and impress connoisseurs of avant-garde/ambient music.

Man Machine Poem is the Tragically Hip's most cohesive release since at least Music @ Work.

The more cerebral, out-there music fan may find it all too easy, craving the satisfaction that comes with gaining an appreciation of music that's challenging to the ear. Most, however, will rejoice; as should you, because FORGET is overwhelmingly and immediately Xiu Xiu.

All in all, Feel Infinite is vintage Jacques Greene, but you're never left feeling like you've heard it all before.

Chaney moves with ease from nearly operatic to contemporary and casual and sounds equally at home.

Deer Tick are so wonderfully straightforward and stripped of all self-importance that Deer Tick Vol. 1 and Vol. 2 manage to make up for lost time without compromising any of the acute writing or boisterous energy the band are known for. The records aren't epic returns to form that beg to be lauded; rather, they feel like four guys remembering how much fun it is to make good music.

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

Psychedelically haunted and spiritually free, Life After Death isn't just an escape from the world we're confined to, it's a multi-dimensional confrontation, compositions conversational as they are challenging.

While it's missing some of the frantic, desperate immediacy of God's Country, Cool World sees Chat Pile exploring their sound and aggressively antagonizing the world around them.

Duterte and Kempner manage to break the mould with Doomin' Sun, proving their chops as singular visionaries as well as synergetic collaborators.

Though less dark than his defining album or his latest soundtrack, Clark's latest balances whimsy and savagery just enough to know it's his.

Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert does exactly what it says on the tin, but in the process adds another story to Dylan's tower of song, and showcases Marshall as devotee, student and messenger.

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

Untethered Moon is arguably the most enjoyable Built To Spill album since 1999's pivotal Keep It Like A Secret.

At times curiously familiar, Sylvan Esso exists in a sphere not a million miles away from other pop/electronic hybrids such as Blue Hawaii, Purity Ring and Austra, but what impresses most here is the quality of the vocal melodies as well as the attention paid to carving out solid low end frequencies, a trait sadly ignored or fumbled by most other indie-electronic hybrids.

In joining the "real world," he's crafted his best album yet.

Golden Sings That Have Been Sung is a personal best for Walker, innovation for the genre and in general, just a damn good listen.

The first half of Spare Ribs is actually quite slowed down and weird, which isn't necessarily a bad thing, but it doesn't complement Williamson's vocals as well. ... The title track and "Thick Ear" absolutely steal the show. Sleaford Mods have shown they can do it slow, but they're still much better when they floor it.

Stripped-down in concept, and impenetrable in execution, I've Seen All I Need to See is perhaps the purest summation of the Body's artistry. Harnessing the core of their heart of darkness, King and Buford continue to blaze trails with immersive antipathy.

There is self-deprecation and honesty to In an Open Field that combines with musical prowess to form a thoroughly enjoyable, thoughtful record. Few writers possess the melodic ability and communicative skill that Nicholas Krgovich does. He remains one of the finest pop songwriters along the coast.

All Sadies albums feel like instalments in an ongoing saga of an incredible band who've been playing forever, and Northern Passages is no exception.

Each song on Ataraxia/Taraxis is diverse, with moments of melodious prog-rock, powerful riffs and hazy ambience; however, there's also cohesion to the EP that makes it feel expansive and utterly epic.

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.

Blood Bitch won't reward casual listeners, but it offers plenty to those who want to get a little lost.

Sullivan is often overlooked as the R&B master she is, but her latest project displays the vocal range of legends before her, demonstrating her ability to capture the qualms of life and love relevant to the realities of dating in the age of the internet.

Fans of King Gizzard's earlier material may have trouble stomaching the bubbly nature of Paper Mâché Dream Balloon, but just as fellow Aussie psych band Tame Impala did with Currents, sometimes you simply need to take a chance and put out something unexpected--that the flutes on nearly every track end up working is just icing on this sweet cake.

Well-crafted and delightfully infectious, The Courtneys II is a sequel that surpasses their already-great original.

These re-workings reaffirm her as a tour-de-force and an example of a truly one-of-a-kind musician whose music stands at the crossroads of high art and popular music.

With this album, the Parenthetical Girls position themselves as pop craftsman with depth.

With Weird Faith, Diaz manages to toe a wonderful narrative line, with all the excitement and trepidation of a new relationship perfectly captured. The deeper you get into the album, the more like you feel you’re living inside her head — it’s a journey worth taking.

The band's evolution on The Violent Sleep… keeps them one step ahead of all those who have been trying to catch up, making Meshuggah as powerful and proficient on the cusp of three decades of existence as they always have been.