This is pop music designed to give you all the feels, and even with a disruptive pseudo-reggae track thrown into the mix ("Candles"), Future Islands prove that they can do it better than anyone else right now.

Swear I'm Good at This is an assured debut with a unique voice, one that finds humour in catharsis and catharsis in humour.

They're firing on all cylinders on Whiteout Conditions, working as one to deliver their most cohesive--and one of their best--albums to date.

This back-and-forth is carried along throughout Arca, demonstrating that Ghersi hasn't lost his fondness for tempered electronic cacophony (see "Castration" and "Whip"), but has expanded his palette, to mind-bendingly gorgeous results.

While its 'realness' likely won't win Roc too many new fans, it's sure to satisfy those down with the brand, and fans of that underground aesthetic he's become known for.

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.

Penultimate track "Your World" is perhaps the most forward-thinking item here; with the unusual mash of R&B and dream pop, it offers something novel, where some other parts of the album do have a tendency to be a touch heavy on paying homage to styles past. But the sounds and homages on offer are diverse enough that this is a minor quibble with what should otherwise be held up as a model debut album.

Coco Hames is a skilful debut that explores the softer angles that the Ettes' last effort hinted at, trading in the spark-plug energy of Hames' former band for a more reflective flavour of songwriting. Luckily, her talent and enthusiasm for her craft are as strong as ever.

Pure Comedy is packed with so much meaning and complexity, it feels as overwhelmingly absurd, joyous, curious, tragic, extraordinary and contradictory as life itself.

Fussell has created a world of supernatural, natural and mundane forces on this record that gets better and better with each listen.

On What If, Hauschka delivers an unbuttoned works that's just as revitalizing for the listener as it sounds for the artist.

A Hairshirt of Purpose is a remarkable, disorienting and rewarding listen that captures a band in their mature, creative prime.

It's a spiritually holistic, potent dose of manna fit to feed a weathered movement.

The result is a better-than-most modern pop record filtered through an indie aesthetic that nevertheless lacks the forward-thinking drive of the best of either genres.

Weak spots include "Superfresh" and "Hot Property," staid disco-pop ditties offering outdated synth and vocoder machinations. But overall, Automaton is inspired, experimental and timeworn.

Much loved indie group British Sea Power have returned with a collection of songs that showcase the strongest elements of their music, giving listeners space for contemplation while also bringing a healthy dose of high-energy rock. Exquisitely crafted.

The result is a sprawling, warm and idiosyncratic album that doesn't sound as much like collaboration as it probably could have.

Bold and stirring, Darling of the Afterglow further establishes Lydia Ainsworth as a master of arrangement and melody, and pushes her just a few more inches toward the mainstream, where a larger, captivated following surely--and deservedly--awaits.

As listeners lose more of themselves, their fleshy armour useless in the face of absolute desolation, Contact rewards them with the knowledge of what wicked horrors they can endure. It's the bad head-trip we need to truly understand ourselves.

Unlike their past efforts, though, Silver/Lead is sluggish when it needs to be spry and dull when it ought to be meditative.

Drawing as much from their past as well as their present, Mastodon refuse to go extinct just shy of two decades of music-making. Emperor of Sand is at once emotionally powerful and musically arresting.

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.

Between appealing beats and this discomfiting tone, Silver Eye sits in a middle zone--and while it could give listeners some better-defined emotional content behind the android-y veneer, it's by no means borin

While more uptempo than his fans may have been comfortable with in the past, the project has a noticeable sense of growth and maturity about it. Coupled with incredible production, The Wild reaffirms why Raekwon's been so revered all these years.

We All Want the Same Things won't quench the casual fan's thirst for new drunken bar rock anthems, but for those willing to listen a bit more closely (and quietly), Finn's solo work still provides some stories worth hearing.

It isn't without its flaws, but Rather You Than Me positions Rick Ross as the boss he's always claimed to be, his raps reinforced by lofty, gold-plated production and added lyrical depth that's as refreshing as a glass of Belaire Rose.

The pair share an uncanny symbiosis, which is quite clearly demonstrated on Concrete Desert.

Heartless continues to build on the band's reputation as one of the biggest acts in doom metal.

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

The best way to enjoy Damage and Joy is to leave their past out of it. Psychocandy was 32 years ago, and the Reids are now pushing 60. The fact that they've come back at all is a remarkable thing. But doing so with an album that lives up to expectations is all we could have asked from the Reids.

Here, Scott Kannberg finally comes to terms with what originally made him such an important part of Pavement and the '90s underground scene--and runs with it.

So Joy Comes Back might be on your shopping list, especially if you're already a Ruthie Foster fan, but take this advice: It's only half a great album, so keep it on the B side.

This record possesses immense power to make listeners reflect on their own relationships and mortality.

Kelly Lee Owens is the work of an absolute natural; these are layered, atmospheric tracks that blend minimal techno, dream-pop, Krautrock and ambient drone into a dazzling, alchemical whole that defies easy categorization.

Overall, Murs' tenth solo album showcases why he's had a long career with a dedicated fan base, and adds another pin to the emcee's decorated lapel.

Excluding its minor gaffes, More Life cements a place for genres long-overlooked by mainstream media; dancehall, grime, Afrobeat, house, trap and, of course, rap, and takes Toronto on a world tour to celebrate life--More life.

The artistically revelatory voyage into Droog's at-times nostalgic, at-times comically bizarre world proves well worth the 40-minute trip.

It's an expertly recorded, dynamically performed and totally fun celebration of some of his best work, especially for those who cherish his earlier material.

She's produced an inspired disc that never lets up.

While it would be difficult to top their classic releases, it stands nonetheless as an achievement that Obituary could create such a vibrant and energetic album this far into their career.

The first record without co-founder and lead guitarist Matt Mondanile, who left last year to focus on his Ducktails project, it finds the band struggling to find their footing in his absence.

Feel Your Feelings Fool! is an energetic, empowering romp of a debut that would feel more rebellious if not for the overly safe production.

Shimmery background countermelodies of organ and mandolin bring a slightly psychedelic, dreamy sense of indie rock to an album that alternately evokes both '80s Los Angeles and '90s Scotland.

Like her LP, ANOHNI's PARADISE is a poignant, smouldering reflection of society's current, crucial conversations.

Recorded with Mike Sapone of both Brand New and Taking Back Sunday fame, the album has a lot in common with the former's Deja Entendu. It's also another fierce entry in the more recent catalogue of young and earnest bands like the Hotelier and Modern Baseball who are pushing a similar message of hope in the midst of struggle.

With a total of 17 songs and a runtime of over an hour, Salutations is Oberst's most ambitious album since his 2002 Bright Eyes masterpiece Lifted, and the best instalment in his solo discography.

With their latest release, Depeche Mode prove they have both the musical depth and strength of conviction to outlast us all.

It has an honesty to it; a realness.

It's a lack of originality that turns the sound stale rather quickly.

They've returned with a refocused sound closer to '70s singer-songwriter fare from Carole King and Fleetwood Mac, a sound that supports Moore's thoughtful lyrics.

Reassemblage is compelling, sure, but perhaps only for those who have the patience or curiosity for an exploration of the sonic predecessors of electronica.

High Plains perfectly capture the rugged and sprawling Midwest, but more impressively, an intangible mood and state of mind. A record like this is a rare achievement.

Although the core songwriting is never quite as captivating and merciful as it was on previous albums, Heartworms nonetheless has an adventurous outer shell, and the Shins seem to revel in the newfound space inside of it.

There's always more to Marling than the uninitiated might hear at first, and Semper Femina is yet another astounding testament to her talent and the multitudes therein.

Providence finds Fake reinvigorated, having worked through writer's block to find inspiration in a virtual analog synth from the mid '90s, the Korg Prophecy. He mined all the gold he could from that Korg to make Providence.

Everybody Works suffers when it loses this eloquence. ... But the stunning closer, "For Light," more than redeems any shortcomings, pairing weary lyrics with mournful acoustic guitar and cementing Duterte's talents both as a songwriter and a producer.

Godless Prophets & the Migrant Flora is the best Darkest Hour since those two albums, and positions the band well to lead the melodeath-inflected metalcore rebirth that, if the revival of its more chaotic precursor is any indication, might be just around the corner.

June is no ingénue or girl-done-wrong; her persona as a creator is both spellbinding and well versed in the ways of the world. This is the singer-songwriter as wise woman, as wickedly sharp village witch.

These are not new themes, but Segarra's songs are a complex thicket of emotions, made traversable by her ability to craft a maxim, a hook and a bridge to a chorus.

What lingers, along with the musical brilliance and uncharacteristic openness of his 50 Song Memoir, is Merritt's humour; his distinctive baritone delivering countless witty sardonic kernels, sometimes assisted by a well-timed dramatic pause, all wrapped up in catchy, unforgettable songs.

This oscillation between seemingly lighter fare and rich, full-bodied tracks ("Hope" and "A Thousand Skies Under Cepheus' Erudite Eyes," for example) is jarring at first, especially in lieu of any buffer or transition, but ultimately establishes itself as a winning characteristic of A Thousand Skies.

True to its name, Uyai is also a glorious, world-conscious party. Beautiful indeed.

With such a wealth of exposure in his musical upbringing, it's no surprise that this mix boasts the instrumental range that it does, not to mention such a precise and intuitively executed pace.

Sensorimotor as a whole isn't as strong as Lusine's previous efforts for Ghostly International.

Windy City isn't a revolutionary album, or even the most adventurous release in Krauss's deep, rich catalogue, but it's a welcome reminder that Krauss remains a song interpreter with few--if any--peers in Nashville.

The Iceberg ultimately delivers a rich yet digestible musical main course worth more than one helping. If you've been sleeping on Odd, it's time to wake up.

[An] explosive and emotional debut.

Moh Lhean is a stellar album that serves as a portrait of the artist as a not-quite-so-young man who's still finding weird new ways to pose age-old questions.

On Last Place, the band returns to the same well again, and while there is enough here to sustain some nostalgia, that well seems drier than ever before.

It would have been really easy for Temples to pump out Sun Structures 2.0, but they took a chance, and the result is some really exciting rock'n'roll.

World Eater matches its brutal releases with hope and luminosity. It's a radical, adventurous exploration--and celebration--of the relationship between darkness

Why Love Now shows Pissed Jeans' songwriting reaching new peaks of awareness and focus, all the while remaining true to their brand of dissonant punk.

Challenging the perception of shared space and visibility, Tamko has released the perfect record for women of colour who, unbeknownst to some, have been secretly shredding harder then white men for years, and are finally ready to be heard.

While these eight tracks rarely involve an epiphany either narratively or musically, their anecdotal nature is a reminder that not every story has an ending, and that the memories that stick with us are often the ones we don't fully understand.

Americana record of the year? It's up there.

Each song on The Bad Testament sounds old, yet somehow unfamiliar, a portrait of the outlaw country bad boy as an old man.

Though it's not quite perfect--some songs wear out their welcome before they finish--this album is written and arranged in a sonically and lyrically engaging way, and will surely excite the faithful, even if it fails to convert fence-sitters.

It's too long, sprawling and musically unappetizing for many to be willing to sit and digest as a whole. Rather than being a record that you listen to countless times, it's more like an autobiographical book that you read once out of curiosity and shelve simply for the sake of collection.

Nightmare Logic showcases Power Trip at their strongest yet, and packs its 30-minute runtime with songs that push everything they have done right so far to an entirely new level.

Flying Microtonal Banana is another wonderful release by King Gizzard.

The album's missteps aren't egregious; rather, it's that after multiple listens, very little sticks. The Tourist's inconspicuousness is its biggest issue.

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.

No matter how many musicians he showcases, no matter how many sonic avenues he takes, no matter how many tracks he squeezes in, Thundercat sounds undeniably and defiantly like no other on Drunk

A consistent, flawless catalogue that spans nearly three decades.

On Freedom Highway, Giddens juxtaposes historical narratives with present-day contexts for an emotionally powerful record.

Old 97's show no sign of mellowing out or pandering to their audience, making Graveyard Whistling a sort of stubborn achievement.

Surprisingly, Jidenna makes it work, commanding the listener's attention from start to finish.

Teri Gender Bender's vocals are the star and the driving force here, pretty much the only truly engaging element.

Los Campesinos!' brief hiatus has resulted in one of their strongest releases to date; Sick Scenes is an eloquent testament to the triumphs and trials of adulthood.

He has the knack for cramming hooks into the unlikeliest places and ending up with unforgettable songs. If this is what he made with nothing, the potential for his music when he has everything at his disposal seems limitless.

Although the 40-minute LP may come off as the work of an artist still trying to find his sound, Long seems to somehow pull off an enviable genre-bend on An Act of Love.

It offers the impeccable, twangy power-pop aesthetics--but also the oversimplification--of [Lucinda] Williams, and the sparkling, immersive production and raw honest lyrics--but also the never quite on key-ness--of the latter [Billy Childish].

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

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.

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.

It's a piece that Basinski apparently revisited and refined throughout 2016, a year made monumental by its cultural losses--and it's one of his very best.

Unfortunately, there are a few too many moments with a "more is more" approach, and they hold the record back.

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.