You'll love this album, but you won't learn much from it.

Structural concerns aside, Singularity still finds Hopkins exploring sonic textures as deeply as ever. It's an album that, in its best moments, finds one of electronic music's great minds operating in peak form.

Low's latest finds Sparkhawk and Parker at a thrillingly creative and intrepid peak, building off their experimental blueprint laid out with their 2015 LP Ones and Sixes and fully realized on Double Negative. Although HEY WHAT falls squarely in between the two, it's safe to say that no one is making music that sounds remotely similar to what Low is giving us.

A winning debut jam-packed with raucous outlaw energy.

If Soft Landing doesn't make you feel good inside, all the drugs in the world won't help you.

It would be unwise to view Amnesty (I) as the rebirth of Crystal Castles; it's simply the next step in the band's evolution, a welcome return.

Mission of Burma continue to create inspired, groove-laden post-rock that threatens to overshadow the acts they've influenced at every turn.

This is no elementary Valentine's card; it's a treacherous and wonderfully unreliable encyclopedia of romance.

The Wake continues Voivod's musical legacy with a pulse-pounding album that stands alongside their classics.

Though it's not pushing boundaries, Reluctant Hero proves metal can be catchy without being stupid. If melodic groove metal needs a hero in 2020, it's Killer Be Killed.

An unexpectedly celebratory affair.

A decade after "Take Me to Church," Unreal Unearth's muscular production and defined vision proves Hozier's maturity as an artist, complete with his usual employment of religious imagery. He doesn't shy away from the darkest parts of the human condition, but he isn't afraid of having a little existential fun either.

They haven't lost the heart of their sound, only shown it in a new light. If last year's Cruel Country was a nod to their country roots, then Cousin is a departure from those origins in favour of new sonic shores.

Ultimately, what So Pitted have--besides a name derived from a YouTube video of a surfer waxing poetic about a perfect wave--is the discovery of a rad tunnel of sound where noise and melody can high five each other with impunity.

Kire had a vision to create his dream album and War Psalms is true punk rock, done exactly right.

Material Control is an invigorating yet familiar release from the band and by far their angriest and densest music to date.

Krug doesn't let the instrumental limitation restrict him and, while the listening experience jarringly contrasts his past body of work, it exposes a rawer, more intimate side of Krug, to much success.

By focusing on the scars that aren't always visible on the surface, Crystal Castles have delivered their most consistent album yet.

Love in Beats finds Omar's brand of R&B at its most peerless, timeless and, yes... mature.

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.

By making the geographically distant feel welcomingly familiar, Tinariwen have made Elwan a can't-miss release for curious audiences from all corners of the globe.

Dream Weapon is a transportive odyssey that casts humanity's end as an inevitable reality with an opportunity for renewal, and offers a space where listeners can reflect on what that might mean to them, or just lay back and enjoy the ride.

Mr. Mitch goes full experimental, recalling the work of similarly minded artists such as Evian Christ and Shabazz Palaces, albeit in a more muted way.

Ultimately, Gunna sticks to his guns and delivers a solid effort that lives up to all the hype. He may not be the most innovative MC, but he continues to craft great bodies of work, which is what will cement his career, at the end of the day.

Longwave channels the low-key indie pop sound of (Sandy) Alex G and Frankie Cosmos. Bonny Doon have proven their ability to transform their complex songwriting and vivid melodies into experiences that resemble those long hours of elusive conversations we crave.

Songwriters Brendan Kelly and Chris McCaughan are in peak form and are far too self-aware to fall into that old trap; they know better than to chase capricious youth.

Amidst a sonic atmosphere of clenched-fist roughness, one can find stark beauty and honest emotional value in the lyrics of lead singer Elias Bender Rønnenfelt

It's the musical equivalent of a thrilling roller coaster ride through a hellish landscape, injecting a much-needed dose of fun in otherwise dark days.

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

This project may be just a bite-sized sample, a delicious hors d'oeuvre served up while you're waiting for whatever three-course meal that Alchemist has coming next, but it's also a reminder that Alchemist's circle doubles as a roster of some of the best rappers around.

If all of the National's albums were placed in a Venn diagram, Laugh Track would sit at the direct centre — neither expanding the sound à la the sweeping expanse of 2019's I Am Easy to Find, nor fully retreating to the straight-up indie rock of 2007's The Boxer. Crucially, it re-establishes them as a group of long-time collaborators in line with one another, none of them standing out from the others.

There's something pure about Tacocat, which comes across throughout Lost Time. The band describe themselves as being best friends, and this sense of joy and excitement is palpable throughout.

Dulli and company manage to elatedly deliver everything long-standing fans crave in an Afghan Whigs album--and they do so in spades.

Harding continues to keep listeners on their toes with Designer which, overall, is a unique, luminous record that's about whatever you need it to be about.

Like its predecessor, the new disc delivers a nice mixture of lighter fare with heavier songs acting as an anchor, though Happy To You has a distinctly animated glow.

Instant Gratification is the culmination of the band's growth over the years, and delivers a variety of well-crafted songs.

G is for Deep remains an album driven by lustrous compositions and like any good artist, Doseone's voice dutifully abides.

Longtime fans should recognize Lady on the Cusp as a strong late-career addition to of Montreal's vast discography, mainly due to Barnes's larger-than-life persona. But you can only be the horniest freak at the party for so long before it starts to get old.

These tracks point toward a more compelling musical direction that would allow Parks to stand out as a singular pop artist, but the overwhelmingly simple bedroom pop stylings that decorate the majority of the album struggle to leave a mark. ... Nevertheless, Parks' wise words are indeed the album's saving grace.

Simply refusing to be pigeonholed, the Danish producer has managed to stray even further from the lively electronic style that was his making.

True North (their 16th LP) lacks the visceral power and focused sense of purpose their trio of post-Epitaph return albums had, the band nevertheless sound unwilling to go gently into that good night.

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

While the rest of Nothing's Gonna Change sometimes falls prey to sheer navel-gazing, overall it displays some clear signs of maturity in someone who remains more determined than ever to carry on his father's legacy.

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.

While it may not be the Ghost Inside's best work--that title still belongs to Returners--Get What You Give is an impressive addition to their discography and will certainly boost their profile.

A few duds abound, like the wearisome "Eat The Rich," but the album ends strongly with the sci-fi-flavoured "Colonize the Moon."

Dune Rats might be known for trivial punk rock songs about millennial angst and partying, but their new album proves the band can be much more.

Though eschewing the (mild, but still present) domestic theatrics of their earlier works for more wizened fare may have muted their immediate impact, their knack for immersive melodies and grooves keep things compelling.

There are some missteps along the way, namely the plodding electronic misadventure “Time Cloud”, but Bleeker still manages to pack a nifty little story arc within How Far Away’s 10 short tracks.

Lucky 7 is at its best when Statik Selektah delves deep into his jazzier side as a producer, as tracks like "Beautiful Life" and "All I Need" affirm.

Some of album's more pedestrian elements slide by — bouncy, sing-song verses that Pitts can obviously write in his sleep and which come off as a bit insubstantial sometimes, the whole thing threatening to blow away with the faintest breeze. Carefree Theatre is certainly pleasant enough to get swept up in however, and a good capstone to a decade's work.

This is the closest thing you'll get to an aural Scandinavian spa.

While the album's emergence is wholly indicative of frontman Joseph Mount's supposed "need to feed his children," in Metronomy Forever, the band have nonetheless blessed the world with at least a handful of tracks worthy of even the snobbiest dance floors.

Yes, on the surface Feels Like Home is a makeover aimed at the parents of every Taylor Swift fan, but the essence of Crow's sound remains intact, and irresistible.

While Lynn's aesthetic development occasionally results in the project reaching pop-heights not in its reach before, it also blurs the line between this and Fohr's other projects.

All Visible Objects is a welcome addition and one that offers a little bit of everything to everyone.

Invitation can be a tough record to puncture. The shadowy soundscapes--thick layers of keys and strings with, oftentimes, thunderous percussion additions-- sometimes overpower Broderick's soft vocals.

The record does play a bit like a return trip through familiar terrain, but for the most part, Love You to Death finds Tegan and Sara offering another solid soundtrack for summer romances and road-trips alike.

Despite the underwhelming musicality of Total Freedom, many of these songs still pack some undeniable emotional force, especially the more joyful tracks like "Who Rescued Who" — a charming ode from Edwards to her dog. In her songcraft, Edwards remains dependable and enjoyable.

On Dawnbreaker, ten tracks elegantly come together to tell the story of a person at the crossroads of their life, and a quiet struggle towards contentment.

Simply put, Bully knows how to make music for feeling young and utterly confused, sometimes hopeless, and ultimately, completely alive.

GØGGS is great, but if this band plans on growing and not just putting out another "let's bring back '80s punk, shall we?" record (not that there's anything wrong with that), they'll have to get a little weirder and wilder on their next release.

For those not moved by this more unhinged side of the band, MYBH may prove disappointing. ... Still, MYBH makes the case that the field recording that plays out album closer "Laughter and Silence" is now as integral a part of the Sumac sound as any other. If you're willing to consider a musical choice like that to be just as "heavy" as a lurching dirge or a colossal chug, then May You Be Held will prove a rewarding and expansive listen.

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.

Although many tribute albums have a tendency to come across as disposable, Red Hot + Fela stands with the best Red Hot has to offer.

Musically, this might not be post-anything, but it is a postscript to an already impressive musical résumé.

The Olympians don't break the mould here, but they deliver robust soul with tight compositions, florid instrumentation and that trademark Daptone sound that feels authentic and earned.

I Predict a Graceful Expulsion is not the great record some would have you believe it is, but it is a very good one.

If nothing else, White Reaper Does it Again offers up a heady, enjoyable dose of nostalgia.

Letters Home gives something to write home about, bringing to mind Have Heart's swansong, Songs to Scream at the Sun, while simultaneously containing Defeater's best material to date.

Weber's creative theoretical and instrumental approach is unique, but the abrasive and connotative tonal qualities of the carillon often overshadow the colourful subtleties of the finer details of his delicate arrangements.

Anything in Return functions as an all-in-one summary of Bundick's talents, giving the impression of a maturing songwriter who has found his wheelhouse.

Whether or not this search is of genuine desire or some gesture toward a gaudy ecclesiastic aesthetic, Hayter's most recent attempt at salvation manifests in arguably the most afflicted and disconcerting peak into her head and heart yet.

While Brain Candy does lose creative steam towards the back end, there's still plenty here on offer for those looking for a reprieve from the oppressive reality of day-to-day life in 2020.

A fine balance of naiveté and stirring wisdom.

Rubberband has been executed with genuine respect for the artist. There's enough greatness here to justify the effort. Even if we hope this doesn't launch a new kind of re-bop craze, it's still great to press play on another Miles Davis album.

If the Muffs were a drink they'd be cream soda, and while I'd typically prefer it spiked, that would be contrary to the point; the band's aim is to deliver a simple, somewhat fizzy sound marked by prominent vocal melodies and choppy yet clean chords.

The lyrics are still full of cutting observations and social critiques (take the anti-capitalism slant of "Corporate Elect," for example), but the urgency driving 2010's Absolute Dissent has shifted into something more akin to a sense of anticipation.

The subject matter isn't new, but the trio's knack for delivering humorous one-liners, tasteful adlibs and memorable hooks in impressively technical fashion remains a winning formula here.

Meek even ventures off-planet for the crunchy electric guitar freakout "Undae Dunes," a tale of youthful love interrupted by a UFO abduction. That kind of psychedelic twist is what gives Haunted Mountain, and much of Meek's discography, the fuel to rocket past so many nostalgia-minded country bandwagoners.

We are treated to a smorgasbord of pop's finest elements, blended together in a dizzying melting pot of ideas that could've easily failed, but surprisingly and pleasantly succeeds.

These recurring themes of loneliness and confused love can grow repetitive, deployed in similar ways from song to song, but Sola is still able to keep the imagery fleshed out and distinctive.

Sunlit Youth may not be the massive leap forward some fans may have wanted, but it's far from a step back. Instead, it's yet another steady offering from Local Natives, who continue to build on a solid catalogue.

It's a leaner, grittier iteration of Arbouretum that slowly lopes out of the starting blocks on this fifth full-length.

This time around, they've pulled from the world's ever-present deterioration to bring some much-needed heft and urgency to the formula.

More than anything on this album, the quintet prove they are willing to travel far and wide when it comes to exploring new sounds, while still being able to deliver a cohesive final product.

Their Northwest hardcore sound may be derivative, but it represents the tendencies of its origins with convincing force, as their unrefined grunge tones and twangs almost make Subjective Concepts feel like an overlooked album from back in the day.

Musically, Tool have taken the best of Lateralus's dynamism and the heaviness of 10,000 Days to explore the middle ground with great length on Fear Inoculum. Those who stuck it out through the decade-plus wait won't mind hanging around a little longer until the album's close.

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

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

Last Night on the Planet is a solid followup with enough variety to please listeners both on and off the dance floor.

A little more variety certainly would flesh out the band's releases, but as it stands these 15 songs fit together nicely, giving the impression of one deliriously long writing session.

There's a subtle audaciousness to My God is Blue that pulls the listener in; it's almost like Sébastien Tellier is channelling a gloomy saviour.

The only notable shift in balance is a slight tipping of the scale towards the weight of electronic over acoustic instrumentation.

For those under the impression Hooded Fang subscribe to a right-note-right-time, throwaway pop formula, Gravez offers something meatier to chew on.

It can feel a little tiring at points, as the music arguably borders on being too dense and involved considering the album's aloof spirit, but Oozing Wound do a good job of sequencing and varying tempos.

It may not be quite as consistent as its predecessor, but Interiors showcases the continued development of a vital emerging voice in popular music and features frequent moments of shiver-inducing beauty.

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