Thankfully, the National have deftly managed that balancing act with Sleep Well Beast, a record that is equal parts familiar and fresh.

Alvvays' music might not be particularly timely, but great songwriting never goes out of style.

Moss uses delays and loops, multi-tracking, and other effects to greatly expand the sonic potential of these basic elements, resulting in a sound world that is laser sharp in its focus, but still expansive and dynamic.

The Punishment of Luxury continues the band's ongoing reunion without significantly altering their course. A few songs here could end up in the band's permanent setlist, but for an album so concerned with our present-day living, OMD seem too content to linger in their own past.

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.

As an album wanders, more opportunities arise for a wrong turn. Omnion veers to a fault.

On the businesslike Cozy Tapes Vol. 2: Too Cozy, Rocky and his acolytes convene for a rundown of trends worth exploiting; as such, it often sounds like a Migos album as interpreted by 16 clueless New Yorkers.

While the project does have a mixtape feel to it as opposed to an album, it delivers a lot of heat.

One of the most consistent post-rock bands in terms of pacing, song structure and style, the Scottish Guitar Army's ninth studio album doesn't exactly break new ground; instead, it finds them subtly refining their recent, synth-focused sound to great success.

As this record's structuring and array of sounds seem somewhat self-consciously thought out, we look forward to hearing them get even looser on their next outing.

While Berman's sentiments are sweet, there's nothing revolutionary here. That said, revolution isn't a prerequisite for good music, so if insular, sensitive indie rock is your thing, you'll probably love The Echo of Pleasure.

American Dream does exactly what a new LCD Soundsystem album should do: it brings back the rush that listening to the band always has, and adds a compelling new dimension to the band's sound--a mature, realist darkness that they'd only hinted at previously--that suggests Murphy might have been temporarily out of motivation, but he was never out of ideas.

2015's Peripheral Vision was indeed more dynamic and, for that reason, might remain their strongest effort for the time being. But let yourself sink into Good Nature, and you'll find yourself in a place of idyllic beauty.

Ferg regresses lyrically, and pairs his bland rhymes with uninspired production that's hard to sit through. It's not all bad: Ferg still has a knack for writing catchy hooks, and it shows.

A big, bold sound isn't a bad thing, but the fact that this album is a little less engrossing than the band's past efforts shows that the most interesting thing about the War on Drugs' music isn't the way they channel their rock influences, but the way they subvert them.

It's clear this record is intended to be far more relaxing than revolutionary. If hippie-ish comfort is what you seek, take a Swim Inside the Moon.

Despite the band's downsizing, TFCF demonstrates that Andrew has always been the beating heart of Liars. This time, the unexpected was hearing him bare his without any uncertainty.

Fans who have joined the ride at some point in the past 20 years will no doubt be delighted with the dense, stomping chapter found in Orc, though newcomers might feel like they've wandered into a story very much in progress and may be more compelled by some of the band's earlier records.

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.

Cool and calculated, it's sure to rub listeners who are anything but the wrong way.

Gogol Bordello have created music that feels revolutionary and well-timed on Seekers and Finders, an album on which the veteran, self-described Gypsy-punk group channel the power and immediacy of their fantastic live show into a tight 38 minutes.

Her ability to turn raw emotion into compelling and riveting music carries Exile in the Outer Ring, and the result is some of the best material we've heard from her yet.

Science Fiction is a flawed yet beguiling record that keeps you hooked without offering the emotional payoff that we've come to expect.

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.

What Photay achieves on Onism is the contrast between full auditory saturation and expanding silence, brought to life by brilliant production.

There is just enough difference in the two voices to keep things interesting, while producer Teddy Thompson corrals an A-list of session players, including Benmont Tench, Davey Faragher and Doug Pettibone to add empathetic instrumental accompaniment.

Painted Ruins is best enjoyed when you let each song carry you through its many twists and turns. And are there ever twists and turns.

Everything Everything continue to push their creativity and abilities as a group on A Fever Dream, shifting and adapting their sound while retaining their knack for melody, challenging rhythms and standout lyricism.

On Warmth, Blondes haven't drastically improved on their sound, but they feel at home delivering ten more high-quality textural cuts.

The cut-and-paste bursts here are beautiful, but they're few and far between.

Whitehorse could easily have played it safe here, but they didn't; as a result, Panther in the Dollhouse is one of the best albums of the summer, if not the year.

While the tracks on Hill's End never stray too far from the sound evident in the first few notes of the beginning track, they never feel repetitive.

Kesha shines brightest on "Woman," an undeniably funky number whose soulful beat is driven by the Dap-Kings' legendary horns. Unedited takes of giddy laughter shared between Kesha and her co-writers in the vocal booth pepper the song, demonstrating an artist who refuses to be stripped of her joy.

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.

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.

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.

Remains an unlikely and absolutely wonderful and essential listen.

Even after encountering a few detours and career doubts, Rose has turned a bad situation into something remarkable; Cage Tropical is a welcome return from an artist that clear has more to say.

Unsurprisingly, the music they select is beautiful and carefully crafted. The album features such acts as Boards of Canada, Stereolab, River Tiber, Thundercat, Delegation, Charlotte Day Wilson and the Beach Boys, to name a few.

Though Frost skilfully balanced the heaviness with some breathing room on A U R O R A, his work with Albini seems to have let in just a little more light and colour, enough to both surprise and enchant.

The result is an absolutely vicious, fearless record.

Even in its weighty moments, the simple melodies, infectious hooks and liberal dashes of humour will keep your spirits up from start to finish. Good For You is a satisfying, well-rounded effort.

At 20 years old, Allison is only just getting started, and Collection is a tidy introduction to Soccer Mommy that points towards her vision of bringing her contemplative songwriting to a more potent and energizing level.

Lyrically, Newman continues to play games that amuse him, but the logical and narrative backflips might be too much this time.

Call It Love is an enticing work, but despite its many pleasing qualities, it doesn't quite stand out from the oversaturated electronic dream-pop scene.

In just under a half-hour, the band tear apart any notion that punk music can no longer be inventive or groundbreaking; Dead Cross brings life back into the genre.

The smooth way in which Alexander's voice blends between shifting country and soul backgrounds demonstrates versatility, and his clear and accessible vocal delivery helps tie together these different strands like a good leader.

Tyler's most musically and lyrically focused effort to date.

Spooky Action is an incredibly simple record that's rescued by a primal energy and emotional output that artists half Loewenstein's age wished they possessed.

For the relative specificity of thematic focus, Hip Mobility is varied in its sound. More than just mining the past for interesting artifacts, Quindar have created something surprisingly new here, and in having done so, project their art into the future.

The evolution can sometimes be clunky, like on "A-Ok" and "People Are Pets," when Thomson's vocal venom and the band's brash tendencies clash in some ways with the songs' brighter moods. But with "Leash" and "Bolt Cutters," they find a softer side that works quite well; each is lifted by a nicely harmonized chorus, and beneath the blown-out speakers is timeless songwriting that could be stripped down to the bones and still stand on its own.

There's no song on Black Mile like "Wolves at Night" or "April Fool," the kind of high-energy howler fit for an EA Sports game, but their efforts have paid off with an artistic triumph, the kind worth regarding as a creative masterwork among their collection.

Crenshaw is a deeply funky jazz record with a sensibility that incorporates the best of this L.A. neighbourhood's long fascination with hip-hop and R&B. It captures the full breadth of the region's rich musical history. ... This is, at the very least, the record of the summer. For some, it might just be the record of 2017.

They're not back at their best, but on Everything Now, Arcade Fire once again sound like the world-beaters they were on The Suburbs without forgoing the acidity, swagger and scope of Reflektor.

Amid soulful, R&B-indebted sounds married smoothly to the more country-leaning, Atkins has created her best and most resounding work yet.

Spending time with this dreamscape of a collection--and it's definitely worth spending time with--unveils themes of masculinity and, especially, femininity, all the quiet dangers associated with womanhood, whether it's "Flash Company" or the complex dynamic between rapist and pregnant victim in "Bonnie May."

Oyamada's work as Cornelius over the past 20 years has defied genre, logic and time; on Mellow Waves, it sounds like he's on cruise control.

Eucalyptus finds Portner going back-to-basics, taking listeners on a psychedelic but steady trip over 15 tracks with atmospheric and shifting samples ("Lunch Out of Order" Pt. 1 and 2), Sung Tongs-style guitar work ("Jackson 5," "PJ" and opener "Season High") and spaced-out instrumentation (the twisted "Boat Race" and lo-fi drone of "Dr aw one").

Soulful yet sensational, Fabriclive 93 is a consuming mix that marks the intersection of Snaith's dance floor personas--and powerfully so.

Jungle Rules is full of summer vibes, and makes a perfect addition to not only Frenchie's catalogue but any summer playlist--which is to say it was worth the wait.

Howling, for the Nightmare Shall Consume is a landmark release for long-time metal miscreants Integrity, and a brave, brutal new direction for Hellion's life project.

The constant vitriol is made scarier by his choice to rap in a stuporous, incantatory monotone. The music here--forbidding snares, honking staccato keyboards--is same-y but effective.

She reveals a heretofore-unheard level of ambition as she expands her pop palette and worldview. In trying to put a wall between herself and her audience, she's opened a new, far more revealing side to her music and herself.

Though the fanfare surrounding the band may have dwindled slightly, the heartfelt emotion they deliver has not.

As musically fun and riff-heavy as it is lyrically direct and meaningful, Need to Feel Your Love is exactly the debut album fans wanted from Sheer Mag--not to mention one of the best of 2017 so far.

If you dig deep enough, it's an album filled with surprises from a band that continue to impress.

These musicians understand that heaviness is most effective when balanced by some light, making their debut both inventively punishing and soaring.

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

Chronology is a socially, politically and industrially aware effort, the work of an intelligent, savvy and ambitious artist who makes for an ideal genre representative to take reggae to its next global level.

"Black Health," "Sober-delic," "Edgar the Elephant" and "Cardboa Negro" are the most compelling tracks, showcasing a midtempo churn where McDonald's rock'n'roll pedigree really shines. ... Despite the presence of these successes, Death still sounds like a band treading water.

While this album isn't likely to draw in a lot of new listeners, it's a well-crafted record that provides a fresh soundtrack of ultra heavy, doom-based brutality.

One lyrical misstep in "By My Demon Eye" (the use of the ethnic slur "gypsy") disrupts Stables' otherwise charming lyrics, but otherwise, Moonshine Freeze is a uniquely woven tapestry of captivating beauty.

Ultimately, Something to Tell You rests uncomfortably between the retro California pop sound HAIM pulled off so perfectly on album number one and experimentation that reaches a little too far into a cartoonish computerized concept of the future.

With the exception of the title cut, which is among the band's best-ever songs, Hug of Thunder isn't a life-changing album. That said, it's a case of a classic group sticking to their guns and highlighting what made us love them in the first place.

4:44 is a refreshing, full-circle moment for hip-hop lovers--and a true pleasure to hear.

If all of this sounds like it's a nostalgia kick for aging ravers, then that's because it is, but it's also just as relevant for this current generation of rug cutters. We now live in an era of constant throwbacks anyway, so Garave Vol.1 fits as snugly into 2017 as any other.

Here, unknowable sounds hover, skitter and undulate against a backdrop of refined, futuristic grooves.

A more challenging and elusive listen than the felted atmospherics of Chance of Rain or In Situ, this is Halo at her most artful and poetic.

GN isn't a huge step towards indie stardom, but it should get them in the same conversation as like-minded peers like Pinegrove and Big Thief.

Fans of textured, cinematic soundscapes and left-field hip-hop will find Ruinism the most satisfying, but Howard's style is distinct enough that adventurous electronic music fans in general should at least check it out; it's as polished and well-realized as any of his output thus far.

How the West Was Won is a very welcome return.

While INVSN probably won't shock anyone sonically or lyrically, there is still definitely a spark of creativity and honest expression here.

If Snoop could just cut his track lists in half and focus on well-crafted party songs, the Doggfather might just find himself back on top.

Overall, Wintres Woma is a great showcase for this extraordinary folk hero that suggests even better things might be to come.

Wall falls on the folky side of the Americana divide, generally, and fans of Townes Van Zandt (whom he covers here) will be well served for sure. But there're some nods to Jerry Jeff Walker, David Allen Coe and others in the shambling troubadour tradition scattered throughout the record, a rare, confident, and remarkable debut from a talented newcomer.

They're disorienting, at times disturbing and very abstract, which basically makes it the perfect visual representation of the album. The record feels like it's falling apart at times, but there's beauty in its disarray--like its accompanying videos, it's hard to look away.

Although the compilation only runs at a short 66 minutes, it's the pure quality of music involved, paired with the gorgeously laid-out extensive 44-page booklet included (filled with photos and obsessively researched liner notes), that makes Pop Makossa a must-have for fans of African music and disco purists.

The diversity he curates quickly turns messy, though, as a surplus of talent doesn't guarantee musical versatility.

It's an album that sometimes benefits from its wealth of ideas but often finds itself trying to find its way back to a central one.

As contentious as Staples' ear for beats is to some listeners, it's refreshing to find him swimming away from a school of rappers comfortable with sonic stasis.

If you're looking for a good time and willing to embrace Rozwell Kid and all their oddities, Precious Art will make for a fun and, in some ways, nostalgic listen.

Beautiful Thugger Girls--which lists Drake as executive producer--pushes the boundaries of Atlanta hip-hop while adding yet another groundbreaking project to the trapper's discography.

If Pretty Girls Like Trap Music doesn't make the rapper an immediate king of the South, it undoubtedly puts him in line for the title.

Despite how thunderous Thatcher sounds behind the drums or how dirty Kerr's bass tone is, unfortunately there isn't a pedal for more robust and compelling songwriting.

For Tweedy diehards, these intimate reworks may come off as a nice fireside chat with an old friend, but those less familiar with the singer are better off starting with the originals.

Progressing across a grid, Olson's explorative approach to loop-based production of music reveals an intuitive and refreshing approach to deriving emotive depth from a machine.

Working with Portishead's Adrian Utley and adding Matt Tong (Bloc Party) on drums, Algiers have managed to create a dizzying tapestry of sounds that incorporates wavy synths, industrial fuzz and gospel choirs into a protest record that embodies the key stages of grief.

Do not be deterred by Scogin's past endeavours; this is not a metal album--not even close. This is lyrical, groovy, poignant, unimpeded and, above all else, creative