Illusion of Time is at its best on the tracks whose titles imply clear pictures of light and dark. It feels less focused on the penultimate "Water," which is also the longest track at 8 minutes — a virtuosic experiment that regrettably dispels some of the dramatic oomph and coherence of the album as a whole.

During those carefree, unfussy peaks, Silk Rhodes sounds less like a retread and more like soul's next step forward.

Meloy has his art down to a science, and the Decemberists take their fans through as winding and rewarding a trip as ever, complete with an abundance of twists and turns that suggest that the journey, long as it may be, is the true reward.

These songs are infectious enough that they ought to catch just about anyone's ear.

On Epoch, Hansen, Brown and O'Connor are in the prime of their careers.

If Obey contains a fatal flaw, it's that it can't quite balance these old hallmarks with its new flourishes in a way that feels totally coherent. But like any work of capable termite art, it still manages to set a particular mood that digs its way deep under the skin.

Images Du Futur feels like a great movie without an ending.

The good easily outweighs the bad on Advancement, and at its best, it's excellent. The pair have a knack for dynamism that keeps things interesting, and their production style has a compelling crunchiness to it that manages to sound modern without laying on the sheen.

Scenery comes ever-so-close to its intended level of sublime, yet plays things on the safe side: pleasant, powerful, precise.

It's all a tad by the book, but the book is well loved and worth re-reading, so why not?

Quiet River of Dust Vol. 1 is a mind-blowing and extremely powerful record filled with strong songwriting and production touches that show Parry at the top of his game. A truly effortless collection of songs worth revisiting for years to come.

These songs don't sound forced or half-baked, they often beg for the repeat button to be tapped. Melodically, he's never been more engaging or accomplished, because he opts for experimentation from the musicians around him, which include Irglová, rather than revert to the habit of strumming his acoustic guitar into oblivion when the energy fizzles.

Whether or not Give Me My Flowers lives up to expectations as a proper sequel may be of some debate, but this album in its finished state definitely impresses.

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.

Welcome 2 America is an incredible listen and an album that proves that even when Prince had reached his lowest point, he was still capable of creating magic. It's a tight, concise body of work that is a few missteps short of perfection but is still far and away his best release since 1987's Sign o' the Times.

The production is top-notch, but Ghost rarely shifts into uncharted lyrical territory, holding back Sour Soul's otherwise consistent production.

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.

At this stage, both brothers realize they work better together, though SR3MM's unique format allows for a distinct look at the two very different parts of what make Rae Sremmurd tick.

Souled Out is an intriguing record from an intriguing artist who has tapped into the zeitgeist and delivered something that is both reflective and forward-looking.

rawing from many of the best aspects of previous Islands records, SIRHAS is an excellent distillation of all that Islands does best, and a return to form after 2013's somewhat forgettable Ski Mask.

As a whole, though it's compositionally beautiful, Lights Falls leaves the listener deeply emotional--both distressed and saddened. However, this strong reaction is artistic success for Robinson.

Ultimately, variety is good for the album, but here's the thing: Martha's own songs can be completely riveting.

Here the songs unfold with greater purpose, the verses and choruses more defined. It is both physically rousing and emotionally moving.

They've burst out of the confines of "rock" to make something that's legitimately transcendent. angel in realtime is a profoundly beautiful, meaningful album from a band that has decided that every record might as well be a new magnum opus.

Sure, the usual country tropes appear in the form of drinking whiskey, diminishing horizon lines and the "devil [who] don't give a damn" — but Stapleton has long cracked the code of authenticity. Country isn't for everyone, but Chris Stapleton should be.

A much more risky, expansive and intriguing listen [than Long.Live.A$AP].

Anyone who doesn't fall for Depression Cherry's hypnotic splendour probably just isn't a Beach House fan, or didn't live with the album long enough. But those who do will recognize this album as the sweeping, grand gesture they've been working up to giving us for the last nine years.

This album demonstrates that Yukon Blonde can transition and adapt to a change in sound efficiently and damn well.

Retox promised devastation with Ugly Animals and have delivered it again, sharper and surer, with YPLL.

The crashing production and imperfections contrast nicely with the concise rock, creating a dangerous sound not often heard within the realm of such structured music.

The lyrics and arrangements are stellar.

Throughout Free Will, Webb sounds calm and inviting, having seemingly settled into his mid-30s. It suits him incredibly well.

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

Sum 41 in 2016 is a lot like their early 2000s pop punk peers Blink-182; they're fun, capable of writing at least a few songs worthy of an inevitably forthcoming "best-of" compilation and at their best when embracing their past.

Surrounded by ambient hiss and faint female backing vocals, The Benoît Pioulard Listening Matter shows Pioulard expressing emotion through simple but intensely personal songwriting.

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.

It's an admirably strange structure--one that doesn't make much aesthetic sense, but keeps things unpredictable for a whopping 83 minutes. ... A weird and wonderful farewell from the idiosyncratic project.

Pollard races through each song with all the gusto of the late '90s. His enthusiasm, though charming as ever, falls just shy of justifying what often feels like a collection of chaotic, unfinished demos.

The eight exploratory tracks make VOLUME MASSIMO an instrumental masterpiece that adds to an already incredible body of work by the gifted and skilled composer. If anything, it's too short.

Although there may be a few too many half-baked ideas thrown around, as tracks like the hollow "Ujala" and the clunky "Bushy Bushy" demonstrate, 808 State nonetheless come off focused, confident and delightfully wistful on Transmission Suite.

Expectations is a nearly flawless record; Katie Pruitt will have to work hard to top what she has achieved here.

If you've been following the quartet since day one, Snapshot of a Beginner feels like both a victory lap and another bold step forward in the race.

The music is punchy, with electronic and analog elements, but, in contrast with Fucked Up, there is absolutely nothing abrasive about the vocals, which are sometimes dominated by beautiful harmonies, as the album's title suggests.

Find the Sun is an uncompromising record from an artist intent on mining further depths, one that finds the beauty in unease — and a sense of purpose in the darkness.

Whereas 936 introduced us to a wonderland of dub-infused psychedelia, Lucifer features a much wider scope from the duo.

This is easily Austra's most exciting and fully formed piece of work yet.

On Strangers, Nadler seems to have her perfected her craft, adding even more confidence to keep her winning streak alive and well.

His sixth album, Ambitions, continues to refine this style, offering up a tighter, more focused version of his sometimes sprawling tendencies. Although some may miss his more esoteric touches, this feels like the natural evolution.

Reenergizing the band after a lackluster sophomore effort, the move [of switching guitars for synthesizers] has led to an atmospheric, assured and largely compelling record.

With 16 tracks and a runtime of over an hour, Archive Series Volume No. 1 doesn't have quite enough stylistic or emotional variety to hold up as a proper album. As a vaults-emptying exercise, however, it's stunning to see just how much quality material Iron & Wine has had sitting around collecting dust for all these years.

Comb the Feelings Through Your Hair shows Grooms delivering an ambitious album where simple familiarity would have sufficed.

With the exception of Lil Durk's two verses, Thugga's extensive assortment of guests here falls flat, causing the second half of the tape to drag.

Phair is at her best when she confidently picks a lane. Soberish is uneven because of her indecision, but it's still her best album since 1998's Whitechocolatespaceegg.

In shedding the shackles of expectation, FIDLAR finally found their soul.

Despite the massed personnel, nothing sounds cluttered or excessive.

On The Sunset Violent, Mount Kimbie throw things at the wall and see what sticks — those flung with high velocity make the most impact.

While Until In Excess lacks a genuine revelatory moment, it's their most overall consistent and accessible album thus far.

Wait to Pleasure is a marked improvement on their debut that demonstrates No Joy's capacity as sonic adventurists capitalizing on the advantages of a studio environment.

It's unburdened by obligatory connections to what's come before and as a result, has a renewed amount of energy.

There are more questions here than resolutions, making Eat, Pray, Thug a thinking person's record, but that's a good thing, especially now that he's speaking to his largest audience yet.

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.

The rawness of the band puts them in a different category than other soul revivalists like Sharon Jones & the Dap-Kings, but the visceral quality of Boys & Girls gives Alabama Shakes an edge.

Miracle Temple is still a wonderfully warm and welcoming record, but it never soars.

Unfortunately, The Official Body remains confined to rudimentary rock arrangements and rigid structures. It doesn't reconcile these contradictions until its final three tracks, which makes for restless, if brief, listening in its middle entries.

Despite the EP's virtues, that's a lot of excess fluff for a collection with just five tracks.

Though it's far from perfect--the Balkan folk-inspired "The Everlasting Muse" and lounge-y "Perfect Couples" weigh the back half down just a little--Girls in Peacetime Want to Dance is a statement record that Belle and Sebastian are still expert songwriters, with more than a few musical cards left to play.

If you ask me, this is the most punk thing Iceage could've done at this point--and arguably the best thing they've done, period.

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

Songs Cycled is a striking reminder of Van Dyke Parks' songwriting strength and deft arranging touch (see the reworking of his classic "The All Golden") for those already in the know; for others, it might just make the perfect introduction to a legend so ahead of his time that his 1968 masterpiece is just now getting its due.

On its own, this album is a solid addition to an impressive back catalogue, but the fact that it's part of a triple-run of releases only adds weight to it.

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 is an achievement of pop-house production, and Jayda's performance throughout is earnest and enthralling — It's a strong effort and vital evolution in her ever-shifting career.

Calm, cool and collected, Fresh Air is a record you'll have playing in the background while you light a candle, anticipating your lover's knock at the door--or something like that.

One True Pairing is not an easy listening record, despite its pop structures. Fleming is stark in his observations, yet he has woven hope in amongst the despair, creating a body of work that serves as a way through difficult and tumultuous emotions.

Content Nausea reasserts Parkay Quarts as talented musicians able to deliver successive releases that are far more accomplished than many other big label garage-rock albums.

Ash still generate radio-friendly tunes on Kablammo!, but they lack the depth that they demonstrated at their peak, and sound a little like they're merely repeating their post-millennial releases at this point.

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

On the whole, PREY//IV expresses a dance-when-you're-sad energy that Glass and Kath never quite achieved with Crystal Castles, and that Kath and Glass stand-in Edith Frances have yet to capture since the enigmatic former frontwoman's departure.

Although it suffers from its divided track list, The Republic reveals Prekop finding comfort in his newly discovered instrument.

The biggest strength of Up On High may be its greatest weakness: it's a record that is exactly what it is trying to be, a folk rock album that feels so much like a folk rock album that you forget about it as soon as it ends. Vetiver's latest is an album that you can put on and not think too much about.

Like the colourless photo of a near-anonymous Swift that adorns the album cover, it casts an artful pose but doesn't have the guts to look the listener in the eye.

No Grace is a short and concise album that's quick on its points: do your best, don't give up and have some fun.

File the album in your new classical section, primarily because of Simon's world-class technique. But given the instrumentation, it could just as easily be marketed as an ambient or jazz album. It would be no less great a success.

Stargate Music is a brilliant addition to the outpouring in the L.A. beat scene, a beautiful amalgamation of raw experimentation and sound fusion that raises this concept album well above others who have come before.

Texas Sun is a cool side project that is able to exist on its own without the pressures that critical acclaim has brought to both artists.

Here is empowering at times--it's strong in craft and intent, and will likely perform well--but the hope that Keys will deliver that iconic, instant classic album continues on.

While the first half of Power Of Anonymity subtly effaces any semblance of her live sets, the bottom half thankfully picks up the pace and salvages what could have been a very straightforward, if not dull, dance floor-aimed release.

It makes for a record with some distinct highs and lows; when it works, it is a lovely shimmering thing that amply demonstrates just how precious Flying Saucer Attack were and still are.

Nothing feels forced; rather, the album gently unfurls at a languid pace. DeMarco remains the relatable everyman, his laidback delivery happily coexisting alongside his ever-present mastery of the titular instrument ("Rock and Roll," "Holy").

Dulli has spent his whole career as a shape-shifting storyteller and Random Desire sees this continue. While most of his remaining '90s contemporaries have become self-parodies, Dulli continually finds ways to explore the hidden pain of the human experience.

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.

Never too bitter or too sweet, these songs are bursting at the seams with casual urgency, an intoxicating counterpoint to the songs' melancholy.

Deferring away from minimal guitar licks and harmonizing multi-part vocals, their new breezy and open sound is more energetic than ever, creating music that continues to reflect where they are in their lives.

Pollen's deep cuts can't quite rise to the same heights as its singles, though they maintain a similar mood and prowess that gives the album life beyond just a couple music videos or haphazardly-ordered playlists. The main standout buried beneath the surface is the stunning "Gibraltar."

Album number five, Sugaring Season, is her purest work yet, stripped right down to the bare essentials and, as a result, it fits perfectly on an English folk timeline.

Despite such inclinations towards the jaded and cyclical at times, Out in the World boasts enough latitude and flexibility to hook interest.

Changephobia might not necessarily win over skeptics, but it's the most coherent vision — lyrically and sonically — of Rostam as a solo artist so far.

While Sings Christmas Carols could provide any miserable person some relief at Christmastime, it also works nicely for anyone who loves these songs to hear someone other than Michael Bublé or Justin Bieber sing them.