Guilty of Everything is thus an emotional affair, but it's balanced by moments of grandness.

Dollars to donuts, there's not one song or style here that "Weird Al" doesn't enhance with his sly social commentary or absurdity. All hail the weird king.

Although somewhat less accessible than Hairless Toys, Take Her Up to Monto sees Murphy coming in to her own as a solo artist.

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.

As with so much of Jurado's work, In the Shape of a Storm is simple in its construction, but panoramic in its impact.

Recorded mostly live off the floor, and full of loose, garage rock accents and playfully shambling flourishes, everything about Most Messed Up feels exquisitely messy.

There are a few new sounds here — prominent vocal harmonies in the chorus of the opening title track, electronic snare hits and a soft synth hum on the saccharine "Looking for a Vein" — but for the most part, this is familiar DMB.

It's an excellent record--one that sounds both classic and unmistakably contemporary--but, for the most part, it still sounds like the meeting of two disparate halves.

The formula certainly has its merits though, and Bicep bring them to the fore better than most on Isles, and all with an appealingly late-night, cosmopolitan flair, where ghostly fragments of Hindi, Turkish pop or Bulgarian choirs are just as likely to hover among the neon synths as the usual breathy trance sirens. It gives the album a bustling, urban energy that very much works in its favour, even if its style might slightly outweigh its substance sometimes.

King Krule is an artist moving a mile a minute, and 6 Feet Beneath the Moon is just the beginning of what will be an amazing career to follow.

The result is a most welcome and simply terrific record from a perennially underrated band.

All the Ways You Let me Down is a charming record with plenty to like, just not enough to love.

Pax Americana has covered a fair amount of stylistic ground, and while a couple of tracks may prompt a meaningful glance at their runtimes, this is a strong and varied album overall.

You can't exactly say Sepultura are back. They never went anywhere in the first place. But they've (rather amazingly) broken new ground on Quadra. Make sure to check it out.

The Main Thing is a warm, inviting record that slots nicely into the band's catalogue, and should reward fans of the Real Estate's understated yet powerful songwriting.

The record is comfortably balanced between different periods of Shepherd's work, derailing expectation surrounding followups, all while still obfuscating the line between analog and digital. For Floating Points, it's business as usual.

It's a globetrotting affair: the wah-wah brass and dhol drums of "Mitote" make for a savoury blend, the Indigenous chants and percussion reverberate in title track "All My Relations," the mid-'70s Stevie Wonder/Herbie Hancock-styled funk of "Mescalero" hits the spiritual spot, while the smooth sax of "Seyewailo" offer up a sonic take on bliss.

Overall, From Capelton Hill is a brilliant reminder that it's totally fine to rely on your strengths and build on them to produce beautiful music without having to constantly reach for new tricks.

At turns noisy, wistful and dark, The Terror is a beguiling record that's as beautiful as it is frightening.

It's these frenzied, sharp-turn transitions are what make this band feel so vital, so alive and so different.

As with all of his records, it's better to view Ryan Adams in the context of his career, rather than on its own, which makes this a very strong contender in a surprisingly dense field.

Will is a beautifully written work of art that finds Barwick reaching out to a larger audience, but completely on her own terms.

Just as prolific in death as they were in life (perhaps even more so), with Temporal, Isis continue to haunt their career like fretful ghosts.

Hard Boiled Soft Boiled hits all the right notes while whetting the appetite for whatever Odonis Odonis have in store next. For now, you'd be hard pressed to imagine a better follow up to the band's debut.

Once fast and abrasive, Wand are softer and more thoughtful on Laughing Matter; the fuzz and distortion are no longer a main feature, but rather tools used to add layers of texture and sound alongside rhythmic guitar and evocative keys.

Although ultimately underwhelming, Moon Duo still create an enjoyable easy-listening psychedelic atmosphere in Stars Are the Light. It might not be the kind of album you can become deeply attached to, but would never fail to please as background music.

It owes something to the great songwriters and studio tones of the 1970s, but it's also strikingly timeless and authentic rock music, helmed by an underground Renaissance man.

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.

TORRES and Baker don't fully escape the influence of their strong indie milieus, but that's part of what makes Send a Prayer My Way so special: it feels a little folky, a little Americana, and a lot country.

The fiercely independent musical spirit that animated her two most recent, deeply personal full-lengths is still strong.

Banks has managed to pull off a minor miracle, as Broke With Expensive Taste is an artistic success as well as a strategic one.

Overall, No Cross No Crown is for diehard fans; those who want to hear something new will be disappointed.

Despite this galling blunder ["California," an infuriating interruption to an otherwise cohesive project], Gambino knocks Awaken out of the park.

Vocals, samples and soundscapes are all treated as equals, resulting in a slurry of sound that remarkably works both as a mixtape comedown and as a salient whole.

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

There's nothing mild about Emotional Mugger; it has an overwhelming sense of madness, but it's addictive nonetheless.

For listeners that like their electronic music with a pulse (both literally and figuratively), this release will be a rewarding experience.

The Private World of Paradise is certain to earn Wake Owl a legion of devotees among the late-night headphones crowd.

Two years of touring has allowed DZ Deathrays to realize their capabilities as songwriters and with Black Rat, it's clear they've got their sights set on bigger and stranger things.

Hopefully "No One" is an indication of the long-hidden spunkiness that Sexsmith will finally reveal in full on his next effort. If that doesn't happen, and his follow up is as joyful as Carousel, fans will still be pleased by one fact: Ron Sexsmith's days of being pigeonholed as a sad sack are long gone.

On the spooky, very unorthodox The Southern Surreal, Legendary Shack Shakers have successfully brewed styles to create an album that is undeniably fascinating.

On their self-titled debut, E focus on each member's strength, leaving listeners with an album that's at times more combative than it is collaborative.

It's hard to shake off singer Davey Havok's sterile lyrics, especially when many of the choruses lean heavily on his bold, operatic delivery yet are somewhat squandered on half-cocked one-liners.

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.

While the album could be described as moody, and there certainly are dramatic shifts in mood throughout, there is also always the feeling of sunny skies above. The music conjures up the grit of the beach, the flow of the ocean, and the hot concrete below the unrelenting sun of the Pacific coast.

At 16 tracks, Dream Nails seems lengthy at first glance, but each track is punchy and goes by quickly.

All things considered, this may not be the best album ever made by Kid Koala, but it might be one of his most rewarding experiences.

On first glance one might mistake it for a kind of "playing the hits" trick that many artists rely on as they revisit their origins. But digging in, Time Is Glass feels more like a progression of ease — 20 years on, Chasny is able to reach the astral plane the way most reach for a light switch.

Voyeuristic as it is, Dirty Projectors truly does feel like a record he had to make, not to mention one that's well worth our attention.

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.

Single Mothers sound consistent throughout this set of ten beer-soaked songs, but after just 20 minutes, that consistency is far too homogenous and one-note to be interesting.

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.

Weighing of the Heart plays out as the soundtrack to a forgotten '90s B movie; novel, but not great.

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.

Braindrops is a tumultuous and compelling listen.

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.

Altogether, Ö feels like candy: addictive, sweet, glossy; the ultimate sugar rush. While it remains to be seen if there's a crash coming, Fcukers are undeniably the life of the party.

With Ghosts of Then and Now, Illum Sphere strives to balance the ethereal with the earworm and, for the most part, succeeds.

Petrol mixes ambient and free jazz with satisfyingly cohesive results.

Fans of Wolfmother and Pallbearer might see this as the second coming of Sabbath, if they liked more At the Gates. But those who are looking for a bit more fuzz won't find it. Melodies, not distortion, drive this album.

Rave 'Till You Cry is as brilliantly insane from start to finish as any other collection Raczynski has assembled.

With their songs, Ratboys document an ongoing search for stability amid a feeling of unstoppable motion and upheaval — whether that means finding a shoulder to lean on, a memory to relive, or a place that really feels like yours. But if being Ratboys is as much fun as "Alien With a Sleep Mask On" sounds, that's some good company to have along for the ride.

By KiCK iiiii, we are in truly subdued territory. An avant-classical journey into quieter realms, it privileges instrumental detail and tender lyricism over rhythmic intensity.

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

It's a leap of faith, a self-assured reinvention, and a testament to Parks' chameleonic staying power.

It's said to be his rawest grapple yet with anxiety, but it's full of lush, buoyant pop songs.

Invisible Life is a great electronic pop record that sees Lange meld the experimental and pop threads of his music seamlessly.

The impressive thing about the return of the progenitors of Swedish melo-death isn't the time elapsed since their last album; rather, it's how much it sounds like none has.

Non-Believers is an easy record to enjoy, but there isn't much more going on.

Invasive and unknowably vast, Oro:Opus Primum is an excellent listen if you're looking to be blown apart.

Complètement Fou is filled to the brim with catchy electro-pop tracks about shaking your hips, going crazy and road trips.

With a runtime that clocks in at just under 40 minutes and very little banter found in between tracks, Fever 121614 doubles as a great starting point into Deerhoof's extensive back catalogue and a showcase of the band's live strengths, all in one thrilling listen.

You can tick off a number of dream-pop heavyweights as influences here: Lush and Cocteau Twins, whose Robin Guthrie remixed "Sure," immediately come to mind. But Pillbeam makes the sound her own, putting heavy emphasis on the pop side of things via a brilliant synth sheen. Yet it's her ability to wring emotional drama out of rote subject matter that makes these songs so special.

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

At just nine tracks and 36 minutes, Silver Tongue runs the gamut on aural and ethereal moods, leaving Torres with one her most emotionally fulsome and satisfying records.

Windy & Carl deliver yet another significant and sublime release that's perfect for late night listening.

Clean rock tracks that deliver an immediate high, while still growing and unfolding over repeat listens. Lyrically, It's Real relies on a brute force, if not a particular nuance.

Rashad has delivered yet another excellent project, striking a delicate balance between exploring new sounds and remaining true to what has always made his music so appealing.

Not every moment is seamless, but the results are fascinating and, more importantly, enthralling from beginning to end.

Much of this material would be hard pressed to directly sweep anything off The Waterfall in its wake, but the The Waterfall II is enjoyable closure to those who will soon turn to anticipate the next new album My Morning Jacket have on deck.

With LaCaze's drum tracks on the record, Eyehategod is a fitting tribute, but also signifies a new beginning for this band that just don't quit.

They are shaping their own pop form, and what an incredible listen it is.

Ultimately, Daniel is perfectly pleasant.

On their latest full-length, the duo maintain their ambition, putting together four sonically challenging tracks that range between nine and 15 minutes in length.

In roughly 26 hypnotic minutes, Eternal Turn of the Wheel creates a swirling vortex of eerie imagery, like dark earth spirits rising and taking possession of musical tech, infiltrating the modern world.

The clashing of stoner and smart post-hardcore works wonders, while the crashing, booming production keeps things just clean enough for an extremely satisfying listen.

American Tragic was a mostly solitary passion project for Fortune, defined by deeply intimate confessions and burning affections that sear into the tracks both lyrically and sonically.

Overall though, it's a solid effort in a genre that's hard to nail. Worth repeating all season!

As one should expect from King Gizz, Infest the Rats' Nest never repeats itself, flying through idea after idea like a heart-stopping drop into the rock'n'roll depths of "Hell," the final track.

The Revenant OST is the duo’s fifth collaboration and moves like a symphonic version of their minimalist album Vrioon. To an already austere approach, Sakamoto seems to have added the resolve of a true survivor.

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 record has an unfinished, ramshackle quality to it, almost as if Segall recorded it on a whim, but it's still explosive--nothing seems preordained or fussed over.

The arrangements are beautiful, borderline orchestral, and contribute to an expanding Horse Feathers soundscape. While the mood that Ringle is trying to strike with these ten tracks belies easy definition, what's clear is that Horse Feathers are forging a new way forward.

Reign of Terror builds on the success of Treats without breaking from it, establishing Krauss and Miller as masters of their craft.

These tracks and more prove the octogenarian has as much grit and vigour as country stars a fraction of his age. Indeed, Nelson performs so deftly on Ride Me Back Home that you'll feel the urge to ask this aged outlaw to hop back in the saddle for yet another spryly exciting ride.

The mixed bag nature of Don't Be Scared that is its downfall: a lack of consistency leads to the album sounding more like a DJ set than a cohesive record.

The fascinating thing about this compilation is the range of influences the producers incorporate into their work.

On Gamel, OOIOO praise the traditional while eschewing the benign to create a truly original rhythmic screed.