There are moments here where she falls into a nice pocket that the listener might wish she'd remain in for a little while longer.

Låpsley has expressed a fondness for writing sad songs, and while there's a pervasive melancholy to Long Way Home, it remains both accessible and sonically explorative throughout.

While this album is masterful in a number of ways, it's Thao's confessional element that ties everything together.

In these subtler moments, Ward's genius is undeniable; if he employs more of that lighter touch on his follow-up, it'll be the classic that More Rain falls just shy of being.

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

The Art of Hustle has vision, but it's occasionally weighed down by Gotti's efforts to recreate the success of his biggest single yet.

Given some judicious editing, this could have been a truly great album; as it stands, we'll have to settle for just really, really good.

The cumulative result of these exploratory tracks is a meditative collection that stays true to Submotion Orchestra's house background despite exploring new auditory combinations.

Bullion makes the weird wonderful on Loop The Loop, painting streaks of heartbreak and sadness onto a bubbly, almost animated canvas that evokes as much as it mystifies.

It's exciting to see artists try and change and evolve their sound, so while it doesn't always work here, Seth Bogart definitely shows enough promise to make one wonder what future non-Hunx recordings from Bogart will sound like.

While Higher Power isn't a perfect debut, it's a strong statement of purpose from a band that clearly have a rock'n'roll heart.

Long-time fans will be rewarded in spades, and newcomers to the Wacos could do a lot worse than starting their journey here.

Dig in Deep treads familiar territory both musically and lyrically, but it bristles with energy and feels like an expertly paced live set by a singer and a band having an especially great night.

99¢ is an album buoyed by its sonic playfulness, but which fails to shake its playlist sensibility--entertaining, engaging but only occasionally leaving a lasting impression.

The album's greatest strength lies in its cinematic quality. Every song feels like a scene in the bigger dream The Ridge represents as a whole.

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.

There's an overemphasis on influences here that makes Stranger Things more recognizably likeable than imaginative.

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.

Fans will still recognize his inimitable approach to propulsive off-kilter rhythm and dissonant timbres, organized into fluid yet alien structures, but the sound is deeper, and its inherent joy all the more resonant.

In an industry where the idea of a meritocracy is as foreign as a retirement plan, Bryan James has achieved the near impossible. In My Mind is the most earnest soul album in years.

While the artistry is evident in his picks, Moodymann's execution here could've use a more deft hand.

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.

My Beautiful Dark Twisted Fantasy remains the apex of West's maximalist visions, and while The Life of Pablo certainly aims high, it isn't as consistently pointed in delivering both music and message as its big-budget predecessor was. And yet, it remains a modern gospel that is undeniably West's own, with a handful of vexatious moments peppered throughout the undeniably visionary ones.

At times Williams nearly overdoes it--he's transformed Billy Fury's "I'm Lost Without You" into an oddly sepia-toned, sweeping string arrangement--but ultimately, it's for the better that he takes these chances.

Need Your Light is certainly a step up from Beta Love, but Ra Ra Riot are missing the orchestral edge that originally set them apart from other groups in their genre, making it feel inessential despite being quite likeable.

Much of Principe's second half finds him repackaging the first half with plodding disco beats that make the initially exciting melodies seem boring the second (and third, and fourth) time around.

Brood Ma's vision of the future may be dark, but on the challenging, rewarding DAZE, his future as a purveyor of its soundtrack is all but secured.

While Yes, I'm A Witch Too makes Ono's work more accessible by sanding down the more experimental edges, in doing so, it somewhat detracts from what makes Ono's great.

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.

While working on the album, the band reportedly tried to blur the lines--primarily through scattershot vocals--to make it hard to discern who wrote what. In the process, they've lost the collaborative, intersectional sound that's always provided a sense of humanity heart at the centre of Animal Collective.

There's relatively no atmosphere and groove this time around, and many of the songs seem forced, as if he's tried to ensure this one goes mainstream.

Prong have outdone themselves here, proving that they are still a force to be reckoned with and, ultimately, respected.

The Montclair, New Jersey's band's sound--off-the-cuff, loose heart-on-sleeve indie-rock cut with Americana--is the perfect vessel for that kind of premature twilight, anxiety and loss. Above all else, it feels so goddamned natural.

Producer Jim James (of My Morning Jacket) brings the same balance to the soundscapes Bulat maintains with her lyrics, positioning the space-age synths and backup harmonies in ways that invoke both gospel and girl group traditions without overshadowing the album's strongest suit: Bulat's vibrant vocals.

On Majid Jordan, it's clear the Toronto pair have refined their sound, with subtle but meaningful touches that make for a stunning, cohesive work of art.

An album that leads the listener through a grim landscape punctuated with urgency and violence.

At times, the album sounds a maybe little too polished, but the energy and stereo movement in songs like "Do We All Feel It" and "Disco Night Driver" sound like they would translate better live than in studio, anyway.

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.

The latter half of Pool shines brightest when Maine shows more of himself, and becomes increasingly poetic and earnest.

Sequencing issues aside, the strength of Paris' production is the biggest standout aspect of the project. If the years spent between releases had anything to do with making sure the beats were adequately rendered, those were years well spent.

The songs on Scheherazade are original, though richly informed by traditional Americana. Most of them sound like they could be from any time in the last 80 years.

An aural delight that deserves multiple spins.

The heart of this record is a furious commitment to survival. It's gutting. It's heartbreaking. And it's pretty goddamn beautiful.

Over 11 tracks and 50 minutes, the Hamilton duo create compact and unhurried works that reflect the musical simplicity and approachable feel found on their 2004 debut, Last Exit.

If Whine of the Mystic was the boozy night out, Thought Rock Fish Scale feels like the groggy hangover. It doesn't hurt, but its lethargic haze makes you wish it were still last night.

The Gamble takes some extraordinary risks, but the rewards are glorious.

The Revenant OST is the duo’s fifth collaboration and moves like a symphonic version of their minimalist album Vrioon. To an already austere approach, Sakamoto seems to have added the resolve of a true survivor.

It's a remarkably ambient record that is also hard to settle into and relax around; it definitely rewards active listening.

The great flaw of this album is that it isn't a concert, and the listener is not right there with the band; it feels disconcerting to be listening to an album of alternately rollicking and mournful populist sing-alongs while alone in one's living room.

ANTI is perhaps her most complete and confident record to date.

Though not every song on this overlong album is a winner--if the band has a weakness, it's in crafting enduring melodies--the bright, instinctive performances more than carry the thinner material.

With Promise Everything, Basement have returned stronger than ever, and have taken great care to capitalize on the most effective aspects of their previous sounds to make a dynamic and cohesive whole here.

Unsurprisingly, the tracks that feature Redway's voice chopped and sampled and without straight lyrics, "Beseech" and "Extract," are the most satisfying ones on the album. These two tracks point to the duo's real potential.

Where the original Something About April was a show a prove lesson in sample creation, part II is a dirt-off-the-shoulder proclamation of songcraft.

Too often, they rely on imitation of their influences, rather than pushing the genre forward in a compelling way.

Traveller isn't just an exercise in classic country revivalism; like Sturgill Simpson before him (with whom he shares a producer in Dave Cobb), Stapleton has taken the old tools and crafted something that feels as new as tomorrow morning.

It's heady stuff to dive into, and Williams isn't particularly concerned whether listeners sink or swim, so long as they get wet.

Some of the tracks, like the first few ballads, feel a tad exhausted and perhaps a little clichéd, but that's the nature of Sia's universal, inclusive pop music, and on This is Acting, she approaches it in an intriguing way and performs it with gusto.

Don't You puts up a strong front that should connect with fans of all those aforementioned artists, but Wet's debut only connects with contemporary R&B, never pushing it forward.

Just as deep and cosmic in scope as its predecessor, this album eschews traditional beats in favour of a primordial throb, a rhythm that seems to originate deep within the planet's core.

With subtle rhythms and interesting melodies, In The Magic Hour delivers both lightness and depth in one hauntingly beautiful recording.

A rose from concrete, Malibu offers a sense of wonder that's carefully rooted in funk and soul, and presents a complete vision from a blossoming new artist that's not only fearless, but leading something of a sonic revolution.

A veritable three-course meal, Knight's refined palate and keen attention to detail make Each Other a well-paced, flavourful experience that ends too soon, but lingers long afterward.

With Moths, Chairlift make a strong claim to being one of pop music's best songwriting teams, with the production and vocal chops to bring their compositions fully and vibrantly to life.

Though unlikely to win legions of new fans, this is another impeccably crafted psychedelic rock record sure to please fans of the genre.

The confident strut and orchestral accents of "Poisonous Shadows" are somewhat cheapened by ill-advised whispered backing vocals, and the songwriting bottoms out in a handful of places. Still, it's miles ahead of their rather forgettable last album, and there's still enough here for fans to celebrate Megadeth getting back on track and starting a new chapter in the band's storied career.

New View is a lush and beautiful record that stands comfortably in such heady company.

Lyrically, the songs are often about longing and seemingly missed connections, but by creating such a rich and textured album, NZCA Lines connect strongly, expanding their sound and blossoming accordingly.

This is business as (un)usual for one of indie rock's greatest experimental institutions, to be sure.

There's nothing mild about Emotional Mugger; it has an overwhelming sense of madness, but it's addictive nonetheless.

The combination of rich layered instrumentation, carefully orchestrated strings and Stuart Staples' evocative vocals give feelings of loss and loneliness a cinematic grandeur, yet their consistently strong recordings never lapse into sentimental excess. That is a balancing act few can manage, and the group pull it off yet again here.

With this album, they've proven that they're a band with substance, staying power and the ability to question everything--and that's worth a lot.

The sense of velocity and flight, paired with Meiburg's dramatic vocals, delivered with Bowie-like flair here, making Jet Plane and Oxbow a natural progression for Shearwater, and a nice departure from their typical offerings.

Though unlikely to win legions of new fans, this is another impeccably crafted psychedelic rock record sure to please fans of the genre.

Suede establish and uphold the album's gravitas with the type of symphonic grandiosity we've come to anticipate from them.

At no point does any of the growth feel forced. Daughter could have been forgiven for producing another album like their debut, but they took a brave step in embracing innovation. The beautiful Not to Disappear is their reward, and ours.

Black Breath don't quite stand out like they used to, so while this is still a very solid album, the band would have been wise to perhaps make a louder, more out-there statement in order to establish themselves as leaders of the genre.

With Blackstar, Bowie has made a record that fits comfortably within that legacy while reasserting himself as an artist that continuously makes challenging and rewarding music.

It’s contagious; every song sounds like a party

Bringing a higher degree of polish to the table than past bedroom recordings, the duo also show off an impressive palette of sounds on their dozen beats.

On the spooky, very unorthodox The Southern Surreal, Legendary Shack Shakers have successfully brewed styles to create an album that is undeniably fascinating.

The weight of Darkest Before Dawn doesn't simply rest on Pusha T's lyrical weight (literal and figuratively), but also his ability to tap into the strengths of his producers, like Boi-1da's thunderous drums, Kanye West's soulful grandeur or Timbaland's unorthodox layering.

Alberta Cross' familiar '70s rock soundscape is lush and relaxed--ideal for the self-reflection that's fostered by long drives, Sunday afternoons and quiet dinner conversations with friends.

The songs are more interesting and less formulaic, akin to the approaches of Q and Not U and No Knife.

This is a must-hear. Baroness are back, and they sound as good as ever.

With the release of Melophobia in 2013, listeners saw Cage create a new identity; Tell Me I'm Pretty takes that change further by exploring new avenues and soundscapes, and it's better for it.

As a follow-up to 6 Feet Beneath the Moon, ANPTD lacks the charm that made his 2013 record amiable. This new work finds Marshall revealing himself through the sound of his combined musical sensibilities and artistry.

A Folk Set Apart demonstrates not just his punk rock side, but all of the many facets McCombs has shown over the years. It would be an odd place to start your voyage of discovery, but then odd is kind of McCombs' middle name--so wander in.

But You Caint Use My Phone is a fantastic collection of songs, and while Badu has dubbed the release a mixtape, it's as strong, cohesive and consistent as any proper soul LP put out in recent memory.

Eclectic, soulful and refreshing, Cool Uncle is a must-hear.

Her solo album is indicative of her strength alone, but it also highlights her importance as a member of Warpaint.

On one hand, it's an endlessly engaging artifact for music dorks interested in an education straight from the source; on the other hand, it simply overflows with some of the best, and most enjoyable rock 'n' roll of all time.

A Head Full of Dreams might have been a poptimist masterpiece. Instead, it's just another Coldplay album, with all the baggage--both positive and negative--that entails.

Kannon is Sunn O)))'s most sparse offering in years, but the experiment in meditative metal minimalism is more than capable of shooting listeners towards a higher plane of consciousness.

Indeed, Melnyk's quick fingers imbue his music with depth that, if explored, reveals harmonies within harmonies.

The record has an unfinished, ramshackle quality to it, almost as if Segall recorded it on a whim, but it's still explosive--nothing seems preordained or fussed over.

McGuire's reputation doesn't need any further solidification at this point, but Beyond Belief is another worthy instalment in his hugely respectable catalogue.

Though a bit of a slog at points, what could have easily been a 16-track collection of Griffin's ambition becoming his downfall, is a worthwhile look at the multifaceted nature of his musical brain. It's worth sticking around for.