While their approach is a little aggressive at times, making it a little too much to take in at once, Glitterbug is full of tracks that prove there's no reason not to indulge in it.

While not as rewarding on multiple listens as anything the Collective has ever produced, Enter the Slasher House is the ideal detour between now and the band's next record.

With the release of their 16th album, All That Reckoning, the Toronto group craft something simple, passionate and visceral.

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

Like anyone enjoying the early rush of romance, this kind of music can feel silly with hindsight. But if you're willing to have yourself transported back to a time when you felt similarly, Pale Waves will do all the heavy lifting.

At its best, Adams' version of 1989 is an adoring homage to Swift's overlooked talent as a storyteller, though there are also a few key moments that fall flat without the high-gloss bombast that the originals were treated to.

Impera is a solid album and an obvious next step in Ghost's career. It's bittersweet to see the campy Satanic days firmly behind the band, but any old-school fan should still be proud to see what the band has achieved, and it's clear that Impera is the album Ghost needed to take their career to the next level.

Each song stands out as its own unique piece of the puzzle, a quality that is easy to lose on electro-pop albums. The standout tracks will continue to impress while the rest will add to an increasingly impressive body of work.

While it may lack the sustained ear-catching excellence of Kings and Queens, South is another solid addition to what is now one of the strongest discographies in Canadian roots music.

Love is the Great Rebellion shows more of Ben Lee's spiritual growth than musical growth, so fans who were attached to the more adventurous departures of his recent work may be disappointed here, but those still clapping along to "Catch My Disease" and "Begin" will surely find comfort in the album.

The record has big, cosmic questions about time and space and possibility swirling 'round its bejewelled head, but it's at its best when putting these concepts under a microscope.

PLUS is certainly a stronger example of Autechre's range than SIGN. This does come at a cost, where the cohesion of their previous album is somewhat lost on this most recent one; this is especially telling in the latter half of the album, where the programming becomes somewhat disjointed. Nevertheless, any Autechre project is worth praise solely due to the duo's consistent aural innovation.

World Wide Funk doesn't break any new ground, but it showcases Bootsy Collins blissfully stretching out.

Although Aquarius may not rock the boat with innovation, its more than confident in its stride, delivering an entertaining effort from the sultry singer.

At times emotive and playful, Broderick has created a cohesive album of delicate, Russell-esque melodies with enough wonkiness, experimentation and spoken word to make a unique, personal and engaging release of happy accidents.

Basinski's latest effort is ambitious yet remains rooted in what he does best: instilling a multitude of visceral, yet ambiguous, feelings within his listener.

King Gizzard's offerings, by their experimental nature, are a disjointed product. Rather than fight this, Chunky Shrapnel thunders headlong into it. ... While this jarring approach may not give you the best sense of a King Gizzard show, it certainly captures what makes them so appealing.

A Trip to the Coast is the welcome return of a familiar form of hooky, melodic minor scale pop balladry.

The arrangements roll and soar while leaving room for more intimate revelations, which is where Western Stars really finds its stride.

At its best, it sounds like a long-lost Pink Floyd album actually meant to be synced to The Wizard of Oz (the album's title track and "Mr. Wright"); at its worst, it evokes old Tame Impala (the first movement of "Cricket And The Genie" and "Boomerang Baby"). Basically, it's a win-win situation either way.

After five or six songs, it has a sonic and thematic sameness to it that manages to work solely because of the glimmering moments when he allows other voices to sparkle and the high-quality production.

When Royal Thunder pull things in and keep them snappy, they're heading more towards Rival Sons turf, and that's a good place to be.

If J. Dilla has been Detroit hip-hop's most influential recent figure, then DJ HouseShoes is the stern, no-frills custodian of that legacy, known to regulate violators and opportunists circling the music James Yancey created.

Its meticulous self-production frames new lyrical pathways from band leader Yannis Philippakis, who seeks to channel the anxieties and fears felt the world over in light of our crumbling political systems and ecological crises. It's a tall order to wade into such essential yet complex themes, ones that Philippakis felt a duty to engage with.

The musicians' playing retains the band's typically muscular vigour, but has taken on extra nuance.

Hardcore Bronson fans may need a little time to get into SAAAB Stories, but it's worth it once you do.

Even ballads like "Give it Up for Love" and "Mountain Song," while rooted in dance music, have a fresh and organic feel to them that feels equally suited to the dark booth of a nightclub as it does a cozy catch up at home.

Lux might not be breaking new ground, but given the beauty and resonance inherent in Eno's music when he sticks with what he does well--namely, gorgeous, slow moving ambience with plenty of breathing space and emotional impact--revisiting familiar turf is just fine.

Valtari might not be Sigur Rós's greatest work, but it is an album of subtle beauty and remarkable restraint that deserves to be heard.

The strongest moments on IX, like on any of the band's albums, are those that manage to create a vast rock sound by building elements up to impressive climaxes before bringing them crashing down.

As is, it's a great outing by Anthrax, if slightly frustrating in its lack of ability to keep the great momentum going consistently.

Simultaneously modern and nostalgic, a hard rocking band that you can lose yourself in, Hotline TNT have made a record that defies time and space.

There is less attention paid, it seems, not to the writing, which is often clever and quite sharp, but to the performing of the writing against the virtuosity of the instrumental performances. The balance puts the album unnecessarily on edge. All that said, this is one of the better examples of what post- or progressive bluegrass can do.

For the most part, Based on the Best Seller feels like a revitalized bunch of friends cutting loose and having a blast. The wheel hasn't been reinvented, but you get all the inside jokes because they're your friends — and you're just happy to have been invited along for the ride.

Overnight's departures from form are subtle.

Only the lengthy closer "Made of Air," while in line with Harris' more drone-based experimental output, seems somewhat unnecessary here.... Otherwise, Grouper's latest is yet another exceptional offering that captures a truly unique voice in a uniquely natural setting.

Natural Disaster builds on the laidback, Californian sound that defined much of Best Coast's catalogue, and is a reflective time capsule of a moment between distinct chapters in Cosentino's life.

Occult Architecture Vol. 1 isn't as daring as its literary influences would suggest, but it succeeds often, particularly when it varies from its central sounds. Moon Duo should embrace the change on volume two.

The issue is whether he's done enough to quench our R&B-infused pop sensibilities; he hasn't. The needle may have jumped a bit, but ultimately nothing here turns things over.

As a whole, Yours To Discover lives up to its name; it's an opportunity for fans to hear a different side of Sebastien Grainger, one more relaxed than frantic, more interested in forging a new path than rehashing old memories.

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.

Oxy Music's greatest strength is that it makes the plight of an addict easy to understand and sympathize with, and may even help addicts who tune in feel less alone.

The group's musical evolution is clear, but they clearly can (and should) push even further into this heavier direction.

Medicine at Midnight isn't good because of the ways it pushes the envelope, but because of how upholds the band's status as rock torchbearers. This is the Foos doing what they do best.

Dark and syrupy in tone, with just the right amount of haze, as if from sacred smoke, Sister is a fine addition to the witchy, ritualistic hard rock that's leaving an ever-darker mark on aggressive music.

FIDLAR have expanded their sonic palette on a record that seems destined to be appreciated more with time.

Love Yes is a remarkable step forward for TEEN, blending the stylistic influences of their first two records to present a seamless and singular voice.

The Last Shadow Puppets excel when they craft attention-grabbing pop with lush arrangements and unique lyrics, and they mostly do just that on Everything You've Come to Expect.

As a genre-defying work, When No Birds Sing is the perfect middle ground for two bands who relentlessly battle against the lazy pigeonholing of scenesters and critics.

This record is less about individual musical performances and more about big, uncluttered sound.

If the band's previous tunes were like a knife fight, this feels more like blunt force trauma. They used to land quick jabs; now they're throwing haymakers. Yet No Taste is also more dynamic and measured in its violence.

While Tomorrow's Harvest makes for a wonderful listen, and a perfect gateway album for new fans, it's not the revelation many devotees were hoping for.

Those who go into this expecting more of the visceral and mind-bending productions that added to the novelty of Varmints might be disappointed, but listeners with no expectations are bound to be pleasantly surprised.

Another Language is another good record that takes some risks, some more successful than others.

Darkness and Light comes off balanced and bursting with humility knowing and being what it is--mainstream soul framed by pop parameters.

At the end of the day, the Lovells have created another strong, forward-thinking record that continues to show an overall evolution in Larkin Poe's sound and style, providing a worthy followup to their previous outings.

Fans put off by Blake's perceived sentimentalism won't have their minds changed by Overgrown, but that's hardly Blake's worry; he's too busy establishing himself as a consistently rewarding songwriter.

Lanegan's edge is his keen ear for contemporary material that suits the overall mood.

Gershwin features a number of quirky, intriguing turns from Cyndi Lauper, who on paper couldn't seem further removed from this longtime country outlaw but in execution sounds just right.... Better still are the moments in which Nelson goes it alone, pushing his famed high voice in unexpected directions.

Fans of Animal Collective, Avey Tare and the psychedelic sound they are so strongly identified with will find much to enjoy here. On the other hand, Avey Tare cannot be said to be pushing boundaries or taking many risks here, other than on final track "HORS_," which shows hints of newer experiments into electronic music that could be developed further in the future.

While VanGaalen avoids profound lyrical observations, his worldview remains one in which listeners can lose them themselves.

Both his darkest and cheerful record to date.

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.

I Go Missing in My Sleep really shines when Wilsen are at their most intricate.

Alvin's rugged and bluesy delivery contrasts nicely to Gilmore's signature ethereal tenor, and their harmonies are sweet. Given that both are accomplished songwriters, it's a mite surprising there is only one joint original tune here, the opening title track.

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.

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.

As Foxygen continue with their disparate series of throwback experiments, Hang finds them closer than ever to striking a balance between their wild, ambitious ideas and innate strengths

While it can be embarrassingly earnest at times, impressively, the music never comes across as self-conscious or unsure. As always, Khan is unapologetically herself, and we're welcome to come along for the ride if we'd like. I'm happy I did.

The trick to With Animals is its brevity, as only two of the album's 12 tracks surpass the four-minute mark.

The only downside to the album's stripped down sound is that while it makes for a solid play from start to finish, there isn't much differentiation, making it easy to forget which track is which amongst the dozen offerings.

Seven albums in, Stars may not have very much left in the way of surprises, but the subtle pleasures of these songs offer considerable rewards to those of us who have stuck with them.

On Faithfull's latest album, Give My Love to London, the collaborations work best when they contrast with Faithfull's signature weathered chanteuse persona, giving a new background for her unmistakable voice.

Stephens fronts the group with aplomb, with her Joni Mitchell-esque vocals floating through the album's 11 tracks like smoke from a campfire.

There are great tracks on Green Language, but a lack of consistency stops it from being a great album.

Born 50 years ago, he would have been the toast of the avant-garde community; his musical experiments are a rarity in this ADHD world of MP3s and free downloads.

Tinashe's Joyride is a stop-start journey that doesn't quite stall out, but does feel like some ground has been lost. It does move, however, and it will be interesting to see where things go from here.

Tooth & Nail is mellow, but not un-edgy.

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.

Ratchet is an exciting first look at an artist in development.

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.

The thematic focus on the therapeutic powers of the natural world, and the protective presence of familial and spiritual energies, make The Land, the Water, the Sky feel just as suited to playing from the peak of a mountain as from the crackling speaker of a bar or bookstore.

If there's anything to be said about THE UNRAVELING, it's that PUP have remained true to themselves.

On their sophomore effort, Good Living Is Coming for You, Mondal and Schnug are again looking ahead, but this time around, the scenery feels more sinister and the ambient sense of dread is sharper. Thankfully though, the result is no less dynamic than its predecessor.

Although those moments may be too fleeting to call Snowdonia a complete departure for the band, fans can will appreciate the added ambition here, on top of the elements they've come to know and love.

Krivchenia has absconded with sounds traditionally associated with beauty, applied his twisted genius, and the result is A New Found Relaxation.

Future Islands' landscapes of sound are more intricately detailed here than they have been before. Their poetic angst has matured into something more subdued and dripping with acceptance. As Long as You Are feels, in a way, like the band coming home to itself.

Above all, Cynic's New Year sounds incredible; its production quality alone is worth several listens.

Dig beneath all the sneering sarcasm and laissez faire projection, however, and you find a band stuck in strict formation with the subject matter of their songs. For much of its runtime, Dudu, the cheekily titled followup to 2017's Dada, operates as a series of short diatribes.

Though at times a little too cacophonous, the nine-track LP is an impressive collection that remains true to its Afrofuturistic roots.

There's nothing necessarily at fault about borrowing so heavily from the past — these sounds are, after all, classic for a reason and it's true that Starcrawler conjure them expertly and deftly. The most memorable moments of the record, though, are those when Starcrawler distinguish their work from the giants before them, sketching out instead their own growing sense of self.

Jacuzzi Boys is a fine garage rock record that finds the band exploring several welcome new directions.

Through fragmentation, each track finds cohesion, making deconstruction — the silences, gaps, twisted repetitions, abrupt cuts, looped production, harried noise--the story itself.

While this is likely not an album that will float them to the mainstream, it is one to be proud of.

God of the Serengeti should impress fans and may even bring back some of those who miss the Psycho-Social days.

It's a disorienting, manic, ambitious psychedelic statement filled with constant twists and turns, and this is both its biggest strength and most notable weakness.

While it's unlikely they'll ever again have the kind of recording budget a major label can afford, they certainly made the best use of what they had. That they made an excellent record in the process is a feather in their cap and a giant middle finger to the label that paid for it.

Whatever this record "is" in terms of its overall sound, it will appeal to a broad audience with its series of radio-friendly medium-tempo stompers and tender ballads. A solid debut effort overall for Townes.