The band still know how to write a good "whoa-oh," and their message has been sharpened by outside factors, making it seem more vital than ever. Anti-Flag haven't changed; the world has.

Wilkinson's eighth full-length shows the musician's adeptness at thoughtful, patient compositions, but he seems to have forgotten the value of self-editing.

World Wide Funk doesn't break any new ground, but it showcases Bootsy Collins blissfully stretching out.

The Dusk in Us is another step forward for Converge, pushing their sound to new levels in a way that is uniquely their own. Although it took five years to come to fruition, the record was well worth the wait, and stands as a testament to why the band have become so hugely influential.

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

This LP captures Shigeto's embracing of myriad sounds, styles and sensibilities, and while his original sound still shines through, he shows the listener that diving into new territory can have massive payoffs.

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.

As a standalone release, devoid of the visual context it's designed to pair with, Rat Film doesn't always find lasting purchase, but it does in parts. ... Still, Rat Film shows off increasing nuance and range in Deacon's abilities as a composer.

Her move away from pop music on The Lonely, The Lonesome & The Gone signals a deeper understanding of the country, blues and soul genres, but there aren't enough ideas here to make it succeed.

Though highly unlikely to unseat Hometowns or Departing as fan favourites, The Wild follows in the footsteps of the band's previous album, Mended with Gold, as a very strong album that doesn't yet hold the same sentimental value as their earlier material.

Colleen continues to craft uniquely personal experimental music with a clear artistic voice, and her latest release might be her greatest achievement yet.

Like Maus's best work, Screen Memories converses primarily through its musical and instrumental affect. These songs are so clearly laboured over and full of detail that their impact as a whole, coupled with bizarre and often-obfuscated lyrics, can easily wash over a first-time listener. Spend some time immersed in their depths, though, and watch as they unravel and fill in Maus's immaculate vocal sketches.

Bizarrely infectious and never dull, this album of anarchistic yet spiritually reverent psychedelic experimental ragas is well worth checking out.

It's not only her best work, but the best amongst her peers, the sort of album that transcends the lane she was in beforehand, transcends whatever antiquated gender biases may still permeate the genre and puts her in the same category as your favourite rapper (who's now clamouring for a Rapsody feature).

Baker is careful not to glorify life's darkest moments, and certainly doesn't on Turn Out the Lights. Rather, her candid portrayal of pain is a rare and beautiful gift.

Weezer have had their share of ups and downs over the years, but Pacific Daydream finds them at their most clunky yet.

Uptempo or down, Shane's performances were maximum R&B before the term was coined.

Mirror Reaper is certainly an outstanding accomplishment in the Bell Witch catalogue. It may be their most emotionally stirring and musically ambitious record to date.

Longtime fans of Gwar will surely find a track here and there that's worthwhile, but in general, they would be better off returning to their back catalogue.

Backwater is a mature, rich effort that's likely to see Kllo continue on their ascent.

Mnestic Pressure feels like a synthesis of electronic music's best bits woven together in an intricate pattern, expertly, as very few producers can.

With ken, he has once again delivered an excellent record that offers both sonic surprises and familiar idiosyncrasies.

Lucinda Williams is an artist with the confidence to say what needs to be said, and the power to back it up. On This Sweet Old World, she might be repeating the words, but she's hardly repeating herself.

All American Made is provocative, charismatic and endearing, proving what many of country's all-time greats already seem to know: Margo Price is a legend in the making.

It's frankly still a pleasure to hear Lindstrøm masterfully keep everything in check, but there's a distinct lack of the full-throttle joyousness that he's capable of. If it was his intentional choice to temper that instinct, it was sadly misjudged.

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 No Love in Fluorescent Light is the sound of a band that know themselves. Stars speak to the truths we grapple with, and the internal nature of our emotional experiences. It's a gift to hear this realized.

Certain synth melodies might be a tad too sugary for some, but they bolster the top-notch songwriting on Going Grey, and Sella's unique and unpredictable vocal phrasing keeps the proceedings distinctly Front Bottoms from start to finish.

Clark promised us "sex and drugs and sadness" on MASSEDUCTION, and while that sounds like a recipe for clichéd disaster, she kept her word and managed to fashion a totally refreshing take in the process.

Lotta Sea Lice feels like two old friends getting together for coffee.

Less is more with Lilies--De Biasio goes big with a subdued sound, and the end result is luminous

John Lee Hooker couldn't have asked for a better centenary.

Colors is a breezy, tightly composed party-starter of a record that doesn't demand much of the listener, but gives back generously.

There is certainly plenty here to explore and enjoy on Carry Fire, but a sparser and more melodic approach next time out would be welcome.

This is a rich and compelling record that deserves and rewards your close attention.

Elaborating on the foundations that have propelled Four Tet through his 20-year career, Hebden allows the sonic palettes from records Pause and Rounds to bleed into textures born from transfigured field recordings and sonic artefacts that epitomize the producer's discography while refining his sonic identity.

These sparse pieces beautifully combine elements of modern ambient production with flute, piano and chilly synths that feel anachronistically medieval in aspects of their harmonic construction. The effect is fascinating, and provides an evocative backdrop for Deradoorian's self-reflective poetic philosophical musings.

As convincing as Liam Gallagher is when he audaciously boasts that he's "got the Midas touch" early on in the album, As You Were doesn't ever quite turn to gold.

On Wide Open, Weaves prove that they can flirt with convention without losing their edge.

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

While the Black Dahlia Murder have always been an impressive band, Nightbringers finds them on top of their game and performing better than ever before. The album has elements of their earlier material, but present them with a polished and perfected vibe across the board.

Take Me Apart is a subtle, sexy LP from a woman who knows what she wants, and clearly aims to write anthems for fans feeling the same way.

The thing with As You Please is that while it feels uneventful, it also seems like Citizen might be just on the edge of a breakthrough.

Willowbank is a mature album of exquisite beauty that confirms Yumi Zouma as masters of musical storytelling.

The Weather Station is Lindeman's loosest, most confident album yet, but it may also prove to be her most deeply psychological; she doesn't hold back.

Emotionally tactile and blossoming with feeling, The Kid is a stunning record that demands attention, absorption and meditation, two LPs rich with wisdom.

B3, fiddle, accordion and, on a couple of cuts, saxophones result in a full sound, but the focus throughout is correctly placed on Rose's pure and retro-sounding vocals and well-constructed. ... Consistently strong.

While the record doesn't necessarily break new ground, it succeeds in solidifying Unsane's rule as the kings of noise rock.

Neō Wax Bloom is a fantastical cartoon that's crash-landed in reality, and it begs your attention.

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

Underneath its few flaws, an electrifying energy shines through, even if its not as potent as it might have seemed in those halcyon 2000s days.

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

This is a record bursting with indecision and excess, but that excess is revealing; we're shown more of Shania's emotion than ever here. It's enough to make Now one of the best pop albums of the year.

Washington delivers an LP's worth of ideas, vision and passion into only six tracks and 33 minutes of music.

The Desaturating Seven finds Primus oddly compelling, as ever.

Ben Frost again proves himself to be adept at juggling noise and melody, rhythm and drone, distortion and clarity on The Centre Cannot Hold, a record that sculpts comfort from chaos and tunnels through darkness back to light.

The band's punk'n'roll won't make converts out of unbelievers, but for those already initiated, V proves the Bronx an undoubtedly vital institution.

At times the music meanders a little, especially as the album comes to a close with the title track, but hats off to the band for pushing themselves on Visions of a Life.

Nokia wears many hats throughout the album--but each personality feels authentic. There's never a sense that she's masquerading. Despite Nokia's artistry, though, Deluxe has a few marked flaws. Her cadence and punchlines are amateurish at times, and there's something flat about the production and overall mix. ... Overall though, Deluxe is a solid effort that proves this Harlemite has the range. Fans will surely delight.

The album's low point comes over top of the solo acoustic guitar performance of "Change," in which Laraaji croons, "Change, by any other name is still change." ... These profundities continue for more than seven minutes--a rarely accomplished exercise in irony, given the song's title.

There isn't much here for serious followers of modern electronic music. It will bore you mostly, which--not to be dismissive here--appears to be the point entirely.

For the most part of Concrete and Gold, it's the same anthemic, meat 'n' potatoes arena rock we've come to expect; a little more punk or metal aggression here, a little more acoustic balladry there, but the mould is the same.

At its best, Relatives in Descent makes guitar music feel radical again, capturing both timely and timeless anxieties.

Perhacs' stellar melodies are bolstered by excellent musicianship throughout, like Cline's watercolour-like guitar work at the end of "Winds of the Sky," and Leddie Garcia's tumbling percussion on "The Dancer."

Striking a balance between sinister and comforting, it's a compelling sign that Cold Specks remains an artist to watch.

All in all, Half-Light makes it apparent just how much of what was captivating about Vampire Weekend came from Batmanglij, solidifying the newly independent musician as a collaborator artists from multiple genres should--and do--want to work with.

Despite its flaws, Wonderful Wonderful is a welcome course correction, a relatively personal record from a too-often facile group.

Vital, vibrant, and necessary, Luciferian Towers is a stunning addition to Godspeed's storied catalogue.

While the band challenge themselves, occasionally blindsiding fans too ("Caterpillar" is a demo that only features Edkins), there's also a reassuring aspect to the calm confidence of METZ here, though they find themselves in a lost world.

The music has remained familiar, as Dani has one of the most idiosyncratic and immediately recognizable voices in metal, but the perpetual whirlwind of members has made every Cradle of Filth album feel unique, and Cryptoriana is no different.

Ununiform is an uneven album at best, showing that Tricky isn't bereft of ideas but was lacking the fire to properly flesh them out.

Sumney approaches the complexities of relationships, power structures and an inability to experience romantic love with a quiet, powerful confidence.

They manage to balance quieter, more serene moments with bombast and wildness, ending the album with the two longest tracks on the album.

Listening to Hiss Spun is a punishing affair, but it's a rewarding one too. It's the sound of an artist not afraid to dig deep emotionally, and that challenges the listener to do so as well.

Haiku From Zero is another strong effort by a band that continue to celebrate the power of dance music, but as closer "Tied to the Weather" demonstrates, they aren't opposed to feeling the comedown effects, either.

Stranger in the Alps is a gorgeously written record, and Bridgers shows her brilliance consistently across its 45-minute runtime.

Where once we witnessed the group tilling the fields, Thrice Woven presents the bounty on a shining plate. WITTR still provide a plentiful feast, but the sense of having earned Mother Nature's gifts is diminished.

The ambience of Second of Spring is pleasing for sure, but there's nary an earworm in the 17-song bunch.

Despite his claims of musical malaise, Pink continues to display excellence in his eccentricities on Dedicated to Bobby Jameson, one of his most dynamic records to date.

Virtually everything here, in its own edgy manner, points to light, hope and the endless possibility of the human spirit.

Corny super group-nostalgia act trying to live up to the untouchable legacy of the members' previous bands? Or timely, and much-needed visceral response to trying times? It depends on your outlook. Prophets of Rage might not be the rap-rock group we need, but maybe they're the one we deserve.

On Take Flight, Coles provides a stunning journey of immersive and emotive house music. While most artists would buckle under the weight of 24 tracks, Maya pulls off the feat with ease.

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.

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.

With an album-long theme revolving around the ascent of an alien who joins forces with natives to save the world, Antibalas seem more than ready to push themselves to another musical level with Where the Gods Are in Peace.

It all drifts along at an unhurried pace, but if you've been waiting a decade for more of Haines' most intimate music, you'll be rewarded for taking the time to let Choir of the Mind sink in.

The Mael brothers also manage to keep listeners enthralled by freely jumping between modes, moving between jaunty piano songs ("Missionary Position"), cascading layered guitar burners ("Unaware") and clever melodies and bridges ("Giddy, Giddy").

The tightly coiled rhythms and ominous moods show influences from trap to dubstep, but with around 10 years of mixtapes, remixes and other projects under his belt, the individual influences have long-simmered for a fine blend.

A fully realized album filled with beautiful soundscapes and dreamy vocals. It already seems permeated by a certain nostalgia, making it a perfect record to make memories to.

Nosaj Thing isn't just a brooding, melancholic minimalist, but an interior designer finding the perfect shade of white — not for some high-fashion contrivance, but for the psychological and emotional effects a colourful sunset will bring to it.

Not everything works, and some might bristle at the somewhat inconsistent recording quality that hearkens back to Leo's earliest work, but even though he turned to his fans for funding, these feel like songs that Leo needed to write for himself.

Yes, Native Invader is an effectual statement by an artist who has built her career on making them, but at times it feels a little restrained in its tone compared to some of her most memorable work.

Forced Witness is perhaps too heavily grounded in the sounds of the decade [early '80s], to the point that a "heard it before" spectre hangs over the album.

There's nothing groundbreaking or surprising about this last record--it's classic Gregg Allman--which is exactly why it's a sweet, solid note to go out on. I'd say we're mighty lucky he gave it one more kick at the can.

On the very next track, "Weapons," the production becomes quieter and dreamier, losing the noisiness and dirtiness that made Dälek so appealing in the first place. This continues throughout most of the album, which exchanges the sharpness of Absence for the gentle breeze of a drone record. If the group increased the focus on MC Dalek's rapping as a trade-off that would be fair, yet for most of the record his vocals are given an oddly low priority in the mix.

Although Young's had plenty of highs and lows throughout his sprawling discography, there's no question that each of his 38 studio LPs were results of a particular vision, and Hitchhiker benefits greatly from this fleeting vision captured over a single evening in 1976.

Love What Survives is a grower for sure. Mount Kimbie may never return to the height of those first few releases, but we'll still be here for another while yet.

For a project that centres on tragedy, though, Okovi feels remarkably vital. After five albums, Zola Jesus's balancing act remains compelling.