The absence of track titles sometimes forces the listener to reach further into the album's alien sounds, but as Ultimate Care II hits the five-minute mark the novelty wears off and absorption into the composition's overall mood takes place, as Matmos do a terrific job of blending the album's noises (which ranges from water sloshing to lids slamming to knobs grinding) into a captivating whole.

The Mosaic of Transformation is a generous record, a gift from Smith to those who need to lock into their body, to move quietly and deliberately.

Groove Denied isn't the game-changer fans hoped for, but it's also not the disaster Matador expected. It's just your average Stephen Malkmus album... now with more electronics!

While Ghost on Ghost is outstanding in places, it's too uneven to hold up to Beam's best work.

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

Their third album, End of Suffering, feels less like a compromise between two sounds and more like a cohesive band.

They've given listeners a sense of what they could be if they really stepped outside of it here, and quite frankly, a little more could go a long way.

Bring Me the Head of Kyle Bobby Dunn is Dunn's best work to date, consisting of a solid two hours of minimal, emotive, ambient drone that should appeal to fans of Stars of the Lid and Brian Eno.

This is a good effort from these two but could've been tighter. It's best when Lil Baby raps about his emotions, where the two once were and when Gunna brags about how far they've come since. But it's clear, they've still got farther to go.

The Off-Season — an earnest return to blood, sweat and ink — doesn't need much more to hit like swish.

Queen of Golden Dogs is more than a collection of novel (or classical) ideas, as much as it's a assembly of gorgeously written and expertly arranged musical concepts, showing Vessel making some of the most clear-eyed art of his career.

They manage to balance quieter, more serene moments with bombast and wildness, ending the album with the two longest tracks on the album.

Finn was able to dial the swagger back for Faith In The Future and replace it with nuance, subtlety; sonically, it allows him room to breathe, to let new characters and stories thrive in softer moments.

While Teitelbaum's vocals occasionally teeter on nonchalance or disaffection, she knows how to balance these quieter moments with bursts of passion, making them strike even harder.

Overall, Hairball lacks some of the subtlety found in their previous work, but it's still an engaging listen from start to finish.

There is certainly an urgency here; a difficult album to ignore.

Though Alcest have left the majority of their metal signifiers behind, they've discovered another kind of heaviness via gorgeous, shimmering melodies.

The cohesion the album does offer is its seamless passage to club land, its capacity to get the listener up and moving, and its ability to surprise.

Portal are a band that never break character and Vexovoid is their fourth full-length release (along with two demos and two EPs), continuing their well-established theme of creating deep feelings of dread, alienation and confusion in the listener, all through exquisitely made and intelligently deployed aural assaults.

Not enough to likely attain crossover appeal, but definitely hitting a sweet and soulful spot, Alice isn't Adele, but she doesn't aspire to be.

Cellar Door seems to have given the Underachievers space to breathe, think and spit the transcendental lyricism that set them apart in the first place.

No. 4 proves beyond measure that Christina Vantzou has as much talent and vision as most any of them. Hollywood, this is your wakeup call. Listen to her.

True Love is a loving snapshot of what Hovvdy holds dear in the present and their excitement for the future is infectious. Instead of reflecting on the past and easiness of simpler times, they are finding pockets of these hyper-elated feelings in the here and now.

Continue as a Guest picks up on the beats-and-synths sound that drove 2017's snappy Whiteout Conditions. Yet where that album saw Newman and Co. dabbling with syncopation, here the band is moving as one unit, deepening the music's groove.

They're sure to become mainstays on many a summer playlist. Although it feels like the group still have more to explore, this album is a remarkable effort by Little Dragon as they begin to finally reach their full potential.

Like a punk rock Watch the Throne, No Life for Me finds two of the genre's leading lights working at the peak of their powers.

Their best album to date, Fall Into the Sun is the sound of a band rebuilding itself one song at a time and becoming that much stronger in the process.

True to its name, Sebadoh's latest proves that, even after all these years, the band are still capable of making music that is thoughtful, humble, and, at times, surprising.

With this EP, Krug demonstrates that less is more, but that it also doesn't hurt to go big, even if "big" in this case is an expertly timed digital synth here and there.

The album is a joyous, well-executed mish-mash rooted in crisp sounds, thanks to James' rock-centric production.

Oddly captivating in running just shy of 40 minutes, Splendor & Misery is hardly your overblown concept record that runs far too long. Indeed, it's worth multiple listens for both its out-of-this-world production and Diggs' one-two punch of lyricism and bafflingly effortless delivery.

Juice B Crypts responds with 11 tracks of knotty, electronic rock puzzles.

If Brasstronaut's fans are willing to go along for the ride, Mean Sun will reward the patient.

The focus is the production rather than the songs, and Ultramarine is sadly missing the killer choruses required for a great pop album.

Weapon stands as Skinny Puppy's strongest work since 1992's Last Rights; it's a testament to one of the few reformed bands still striving to push, not just themselves, but an entire bygone genre forward.

Untethered Moon is arguably the most enjoyable Built To Spill album since 1999's pivotal Keep It Like A Secret.

Every song manages to fit very well together without sounding too similar.

Packed with tight hooks, this record adds plenty of new songs to Operators' repertoire that are sure to keep the crowds dancing late into the night.

Beyond its heaps of pop-rock hooks, TUNS debut full-length is a testament to the eternal power of friendship.

In just under a half-hour, the band tear apart any notion that punk music can no longer be inventive or groundbreaking; Dead Cross brings life back into the genre.

It is a good first showing, especially given the conception of many vis-à-vis the musical talents of one hit wonders. But it does have the feel of a first album, in that Sheck seems to still be looking for his style and sound.

With plenty of captivating textures, there is lots to explore on the record, as there is in the world, but the deeper one goes, the more bountiful the rewards.

When compared to last year's Music Is, it's nice to hear Frisell in a live setting and with a solid partner: as result, it's more spontaneous, less polished and more engaging.

The Best of Luck Club may lack some of the whimsy that got her noticed, but with this more mature turn, Lahey has expressed some lyrical depth that wasn't quite there the first time around.

The Vancouver duo's captivating moments easily outnumber the few duller ones. On Lightning Dust's fourth studio album, Amber Webber's beautifully haunting voice brings hope to dark places, and following it feels like being guided to the light at the end of the tunnel.

Whether you can consider this old-school, new-school, or somewhere in between scarcely matters. What we have here is yet another brain-melting album from an artist who refuses to stand still.

Scis demonstrates that, 27 years into his recording career, Markus Popp is still managing to come off forward-thinking and forward-sounding.

Changes isn't the most complex album King Gizzard & the Lizard Wizard have ever made, but it's been gestating in the backs of the member's minds for years, and feels oddly representative of everything they do well. Whether you're a true Gizz-head or just dipping your toes into their psychedelic swamp for the first time, it's worth a listen.

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.

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.

If you're a long-time listener, or someone that was tuned in to AM, you might be prepared to change the dial. But before you write this off as exhausting or pretentious self-indulgence, give it a listen or two. Peruse the lyrics, dissect them and have a laugh. Commitment isn't as scary as you think.

While Bunny is fairly consistent across the board, there isn't much that sticks out here.

Deer Tick are so wonderfully straightforward and stripped of all self-importance that Deer Tick Vol. 1 and Vol. 2 manage to make up for lost time without compromising any of the acute writing or boisterous energy the band are known for. The records aren't epic returns to form that beg to be lauded; rather, they feel like four guys remembering how much fun it is to make good music.

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.

The Lemon Twigs almost always use the kitchen sink approach on Do Hollywood, and it's pretty effective, too--there's nary a dull moment.

Ruminations isn't exactly a stunner--it's too low-key for that--but as a humble mood-piece, it's an engrossing listen. Its best moments are also its darkest ones.

On Hormone Lemonade, Cavern of Anti-Matter have created an inventive piece of art that could have benefited from a bit of self-editing and a some of that old style vision.

If you're a big fan of the band, or if you have been feeling nostalgic for the Reverend, check it out.

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

It's possible to detect elements of jazz, '70s soul, hip-hop and electronica in McFerrin's heliocentric mix, but through his intentional blurring of the boundaries, he underlines his mastery of and ultimate disregard for genre categories.

Pickpocket's Locket stands as some of Mercer's most urgent and terse work to date.

Frankie Cosmos continues to succeed at condensing the task of processing feelings down into short minute-ish long songs. The pace of the album is set at a brisk run, but it never gets sweaty, so you'd never notice how quick it is — or how hard it's working. Close It Quietly is composed and meticulous in flow, flawlessly delivering reserved passion.

Fine Line is proof that Harry Styles has grown as an artist since his solo debut. He hasn't reached his full potential, but he's certainly well on his way.

Some may chide Farrar for playing it safe on Honky Tonk, but in nearly every respect this album sounds as if Farrar has finally arrived at an artistic place he's always longed to find.

These rapid shifts and experimental flourishes can make for a jarring listen, but they also keep Love Songs For Robots unpredictable and exciting.

Ology's idiosyncrasies and emotional exhibitionism make for a genuinely honest, captivating listen.

This isn't an album of contrasts but a vibe to get immersed in, and it's a welcome reminder of what once made Rose one of the key figures in indie rock.

O'Brien manages to inhale stuffy themes of love and heartache and exhale fresh retellings.

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

Essential is a strange, adventurous and ultimately enjoyable collection of half-finished, fully realized songs that could only have been crafted by artists as musically brazen and tenured as Soulwax.

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.

Where once we witnessed the group tilling the fields, Thrice Woven presents the bounty on a shining plate. WITTR still provide a plentiful feast, but the sense of having earned Mother Nature's gifts is diminished.

Wild Peace is a transcendental album that shows a band reaching for new heights, and achieving blissful music that many of their peers can only dream of making.

The Early Years is a ferocious and borderline terrifying slab of feral noise-rock, but it's only a small indication of what it sounds like Girl Band might be capable of.

The trio are adroit musicians with pleasant vocal abilities--loving the falsetto--and if you look past the over-indulgences, the album is solid, if not particularly memorable.

Diehard fans of the Brazilian band who rekindled their interest in the band with the return of Roots producer Ross Robinson will find Machine Messiah lacklustre, possibly even forgettable, when held up to Sepultura's better past work.

While the project does have a mixtape feel to it as opposed to an album, it delivers a lot of heat.

It's a pleasant surprise to hear that he's capable of so much more.

Yorke, it goes without saying, is a fine songwriter, so there's nothing particularly wrong with the solid AMOK. The problem is that there's nothing incredible about it, either.

Although the switch in tempo and style from song to song is abrupt, there's consistency that follows the album through to the end.

Pieces like "Salamander," "Myzel" and the live tracks "Moos" and "Fichte" don't sound like classic Pole as much as they feel like classic Pole.

If there's one thing that Aa demonstrates in spades, it's growth. The record not only shows a wide array of styles, but lays a solid foundation for Baauer to build on in the future.

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

There's room for improvement for the melodies and beats, even though the subtle instrumentals help amplify Cozz's voice and his champion storytelling.

There is a timelessness to this record that's as connected to the electric jazz pioneers of the '70s as it is to today's best fusion players.

While Of Montreal's brand of pop music has often been brainy and verbose, these songs offer simpler pleasures. UR FUN is, well, fun.

With verses courtesy of everyone from Schoolboy Q and Action Bronson to Roc Marciano and Danny Brown, Alc continues to wear his hazy influences on his sleeve.

At times, the simplicity of the melodies (the synths at times sound like readymade ones you'd find on a Yamaha keyboard) and decidedly uncomplicated drum machine beats may leave the listener wanting more, but they play into the notion of these characters being pathetic, exhausted and disappointed so well that there really isn't a need for much more.

Instead of taking the easy route of creating a love letter to New Orleans, the band went in the opposite direction, continuing to lead American music into the future.

Replaying Under The Same Sky enough times reveals balanced interplay between heavy warehouse techno and increasingly noticeable individual craft.

Backwater is a mature, rich effort that's likely to see Kllo continue on their ascent.

Throughout, We Fall is a slow, contemplative record, perfect for those introspective, late evenings. It occasionally has some interesting post-rock vibes, especially on the guitar-driven tracks, but elsewhere the slow piano playing is closer to older ambient records.

All Fiction is the mark of a new era for Pile. It's one that might take some listeners time to get used to, but it's an altogether richer and more mature sound that opens new avenues of sound for the band going forward.

It's one of their most streamlined and focused records yet.

Yes, most of us listeners won't understand the Nigerian Ibibio language lyrics that she assuredly bellows and purrs on grooving songs like "Nyak Mien," or "Kuka." But Williams' masterful delivery, not to mention the band's deft playing, more than get the point across throughout this fantastic album.

Röyksopp and Robyn have not only traversed new territory, they've made it their own.