Courageous and passionate, Bada$$ is a well-timed soundtrack to social and political struggle. While the album specifically chronicles the horrors of being a young black man in America, Joey articulates his angst in a way that easily resonates with anyone stumbling under the weight of oppression.

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.

Standout tracks about abandonment/haunting ("Ghosting"), or the opposite ("Feel You More Than the World Right Now"), carry an elemental charge that dials right into a frequency of feeling that only the best crafted pop can discover.

As usual, fascinating choices abound when a lost Bob Dylan session is unearthed (and, excitingly, signalling that maybe there's way more of this kind of stuff to come), but this one feels particularly prototypical and casual, and, with good humour, was intended to warm folks up — to each other and the material — more than get its hypothetical audience hot and bothered.

Ben Frost again proves himself to be adept at juggling noise and melody, rhythm and drone, distortion and clarity on The Centre Cannot Hold, a record that sculpts comfort from chaos and tunnels through darkness back to light.

There's rarely a moment on Jonny that feels regressive — for the first time since the Drums' debut 13 years ago, Pierce has mastered a way to bare both his chops and his emotions.

With Cloud Room, Glass Room, Pan American's original recipe feels slightly new–and-improved.

As a whole, the album solidifies King Gizzard & the Lizard Wizard as a truly ambitious band who balance classic songwriting with wild experimentation.

Where Wake in Fright felt lean and energetic, The Long Walk is bloated and tired, not so much a fulfilling, purposeful exercise as a slow crawl to nowhere in particular.

Shadow of the Sun is an intriguing journey; hopefully, given more time, Moon Duo will embark on some new adventures with even wilder results.

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

Five Spanish Songs is satisfying enough for its 20-minute runtime, but it definitely lacks the heft of his recent work; without his distinctive lyrics, it doesn't really feel like proper Destroyer.

As their 2015 album relied on a pair on vocalists, Mutado Pintado and Paris Brightledge, sophomore full-length PL utilizes a whole stable of collaborators to create a pleasingly wobbly and splintered set of songs.

Clearly he is awash with new inspiration, and has absorbed it successfully, because it's hard to recall an artist in recent memory who has revamped their sound so boldly and successfully as City and Colour has on If I Should Go Before You.

A fine balance of naiveté and stirring wisdom.

While not groundbreaking, it's a revitalizing rock record that is bound to rekindle the excitement of taking a chance on a (relatively) new band.

Though without some of the magic of his debut, Hakim's sophomore full-length shows that he is still full of genre-bending potential.

In allowing others back into the fray and stripping their sound, Longstreth has once again tapped into what made the band so engrossing in the first place. 5EPs feels like a restart, a long and considered exhale.

On Back of My Mind, H.E.R. is in total control of her sound, with masterful command of her artistic direction.

Smalhans is an enjoyable listen, though it's creatively limited when compared to Lindstrøm's previous work, not providing much more to the listener than a feel-good album.

The album peaks when Cyrus finally delivers retro rock-inspired collaborations with both Billy Idol and Joan Jett. These two champions of 1980s rock bring some grit to the album, taking Cyrus into the heavier direction she's been teasing for years.

Fans of the group may be surprised by the subdued nature of singer Liam Corcoran's usually prominent acoustic strumming and bubble-gum pop harmonies, but Foolish Blood's low-end textures and diverse layers guarantee that the Maritime icons will remain relevant for years to come.

The songs--though sparely produced as usual--sound picked over, like they've been played too many times and have lost their fire.

It all drifts along at an unhurried pace, but if you've been waiting a decade for more of Haines' most intimate music, you'll be rewarded for taking the time to let Choir of the Mind sink in.

Weather pushes the boundaries of Tycho's traditional sound, and in so doing, proves there is something serious to be said about stepping outside the comfort zone.

The album-closing title track gets synthier, but also heavier, hitting listeners with a wave of doom. It's the best of what the two can do, both together and apart. If Mrs. Piss's first release is any indication, we can't wait to see what's next.

Personality comes off as expert techno done in a peculiarly conservative manner, an unadorned but sturdy tugboat floating amongst dubstep's rising tsunami.

Oddly accessible and intriguing in its damaged form, Lonely is much bolder than the MOR, left-field beat music one might initially believe it would be.

Big Dark Love has big, dark secrets hidden away in its seams that call out for repeated listens until you can draw them into the light.

While King Tuff has skilfully honed his '70s shtick here, Black Moon's appeal reaches deeper, transcending the novelty with well-written tunes that are fun even for those impartial to the decade.

The Yeah Yeah Yeahs are back, better than ever and ready to "suck your blood."

Teetering between organized and messy, the melodic and chaotic, Bought to Rot is what Grace considers her "Scorpio album." Presenting herself bare, she exposes unfiltered honesty through the kind plain-spokenness that's, nowadays, avoided by contemporaries of her stature.

Even though their singer will soon be pushing 60, it's clear these guys haven't run out of things to say. Or shout.

His ability to make sonically adventurous, emotionally rich pop has made him a perpetually welcome presence in a crowded field and made Care another triumph.

The first half or so of pom pom proves Ariel Pink is still a pretty formidable songwriter.... From there, the structure seemingly breaks away, as Pink indulges in further left-field whims that are often more novel than gratifying.

The cut-and-paste bursts here are beautiful, but they're few and far between.

Animal Races is an homage to a bygone era, and a terrific one at that, so while it's far more influenced than it could ever be influential, it does have the potential to inspire sentimentality among those who lived through the era to which it devotes itself.

At 20 years old, Allison is only just getting started, and Collection is a tidy introduction to Soccer Mommy that points towards her vision of bringing her contemplative songwriting to a more potent and energizing level.

Loud Patterns is an overtly ambitious first album, which fittingly captures Molleson's "difficult to define" approach.

It's an analogue oasis of the past that rejuvenates for the present.

The album is an offering of loose yet plush stories that trigger memory and mood, and swim with the lithe astral synth and keys that Geotic always plays with.

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

The fifth Black Mountain album is their most driving album yet, literally. It was edited on the road, directly influenced by the feeling of being behind the wheel. Of the 22 tracks recorded, the eight that made it are as propulsive as you can get, hard-edged cerebral space trucking.

All told, Bad News Boys is as solid a record as the King Khan and BBQ Show have ever put out, and a must-have for fans of both the band and the genre.

The band have lost none of the piss and vinegar that's marked every stylistic diversion that came before. They're just taking those component parts to build one barnstorming monster of a record.

Unfortunately, Keith is treated to some friendly fire here, as most of his cohorts outshine him.

For such a specific formula, the law of diminishing returns likely looms, if it hasn't arrived already, but for now, The Glow is just enough of a good thing.

Despite a few kinks and unnecessary tracks, B4.Da.$$ is a great album that revisits classic '90s boom-bap signifiers: the production, the delivery and cadences.

The Migos formula works, to be sure. But it's those occasional reaches outside the tried and true — be it beats or collaborators — that make for a more compelling listen, even if they don't always smack the mark.

I Wasn't Born to Lose You is a solid return from a band eager to sound like themselves again.

While a slight step forward, Nocturne, like all of Wild Nothing's output to date, still inhales all of its influences--the women, the hurt, the favourite records stuck on late night repeat--and exhales them in to a beautiful, swirling, ethereal cloud.

At times jovial and elsewhere solemn, Quickies is an anthology of flash fictions, thematically clashing against one another like "I've Got a Date With Jesus" and "You've Got a Friend in Beelzebub," yet otherwise twinning mischievously like "The Best Cup of Coffee In Tennessee" and "The Biggest Tits in History."

By splitting his 2022 albums into two distinct projects and saving his quieter material for Entering Heaven Alive, White has delivered his best release since 2012's Blunderbuss, and one of the most consistently exciting albums in his 25-year-career.

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.

Repeated listening makes it hard not to see the album as some sort of quasi-confessional mini-masterpiece, and if not that, at least another example of his increasing strength as a songwriter.

There's little about Dead Set on Living that isn't an improvement on the band's past efforts, from the thunderous guitar tones to the frenetic energy pouring out of every song, courtesy of live-off-the-floor recording.

There is a comprehensive exploration of musical avenues and ideas, as well as a pleasing juxtaposition of an overarching concept and sound design.

Sure, the LP falters when it casts its net too wide, particularly on the Roxette-indebted "Love They Say" and Twin Shadow outtake "Shock to Your System," but those moments are few.

With an exceptionally dismal sound, and artwork by Anthony Lucero to match, Dragged Down a Dead End Path is set to be one of the best aggressive releases of the year.

On Calling from the Stars, Miss Kittin's ambition comes off as both a blessing and hindrance; it's a cycle of ideas that unendingly feel very close to wearing out its welcome.

On paper, the 32nd edition of the Late Night Tales seems like a wilfully difficult listen, but Röyksopp possess the musical gallantry to have compiled the first indispensable comedown DJ mix.

There are great moments that fulfil expectations of Jesu as a dissolving whirlpool bath of glass shards, but these flashes don't carry the full weight of the album.

On their return, they sound wiser and refreshed.

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

One of the best things about the Album Leaf is the mental imagery that comes naturally with the music, and Between Waves provides a fresh canvas.

Well-crafted and delightfully infectious, The Courtneys II is a sequel that surpasses their already-great original.

While these eight tracks rarely involve an epiphany either narratively or musically, their anecdotal nature is a reminder that not every story has an ending, and that the memories that stick with us are often the ones we don't fully understand.

Bold and stirring, Darling of the Afterglow further establishes Lydia Ainsworth as a master of arrangement and melody, and pushes her just a few more inches toward the mainstream, where a larger, captivated following surely--and deservedly--awaits.

Everything Is Recorded by Richard Russell is a moving, beautiful album that offers community as a cure for loneliness. Even if at times he's somewhat overshadowed by his collaborators, Russell manages to have his voice shine through.

It's a tasteful and mature evolution for one of the genre's key names, and long-time fans will have no problem assimilating this well-crafted, down-tempo album into Moby's already eclectic body of work.

Floating Features hits the ear and satisfies as much as a California-grown avocado, buttery and smooth.

Too bad the music isn't as varied. In replacing keyboardist Sasami Ashworth with bassist Devin O'Brien, Cherry Glazerr have gone from wiry and versatile to big and bulky, but their titanic low-end quickly becomes stiflingly repetitive.

Seven Steps Behind is an album that, for the most part, has found its footing with a few missteps along the way.

With The Last Word, The O'Jays end their legendary career on a peak.

Though the tone of Pop Smoke's voice is already enough to set him apart from other artists coming out of New York, there's energy felt in his music that keeps you engaged. We'll have Meet the Woo 2 to remember that energy forever.

Silver Landings shows Moore unburdened and the joy she finds in being honest is both heartening and inspiring.

No Horizon pairs ecstasy with pensiveness, using experimentation, static, tension and texture to push Wye Oak's skills ever forward.

Lyrically strong, thought provoking and groovy as hell, What You Gonna Do When the Grid Goes Down? shows to the world that Public Enemy still has plenty of gas left in the tank.

Kommunity Service manages to deliver on almost every front. It's an impressive collaborative effort from two of California's brightest stars, yet another solid release in Mozzy's rapidly expanding catalogue and a much-needed return to form for YG following a few subpar releases.

While even Young's most autobiographical ("Old Man") and tender ("Harvest Moon") songs deliver a level of poetry and mystery to his plainly spoken lyrics, much of his folk material here is paired with often cheesy and typical phrasing. ... That said, at 76 years of age, Young is still making more shrewd, relevant, and valiant albums than any of his peers not named Bob Dylan.

Granted, tracks like "I Need You" and "Too Late" give off a Cars-meets-mid-career Tegan & Sara vibe that's a little too on the nose. ... This album is full of pleasant surprises, though.

A great, often excellent effort containing at least a couple outstanding moments that see Future Islands really crystallize as its best self. There are some overly familiar moments and the album essentially offers more of the same, but it’s arguably their best work since Singles, the group’s still-reigning high-water mark.

When Love Heart breaks the feedback loop of its own foundational creation is where the record is at its most compelling.

Though Khan has grown with the responsibilities of adulthood, he has obviously retained the ability to produce fun, high energy tunes with ease.

Honora feels a bit like a few different projects in one, its moments of revelatory beauty refracted through a slightly convoluted structure.

Calling Out is an excellent first dish by EZTV, a sweet thing that makes one excited to hear what they serve up next.

Even though it doesn't reach the exhilarating highs of their peak moments, Deleter works as a serviceable showcase of the band's grasp of controlled rhythm and noise.

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.

Levy's writing is both insular — her lyrics are dense and singular, her references specific and sometimes unknowable — and insulating, sketching her surroundings so vividly, so minutely, that a city can feel as familiar and often-unpredictable as the inside of your own head.

Despite its occasional low points, Meatbodies have created a wonderfully weird and spooky world with Alice, filled with monsters, magic and lots of fuzz.

The Soft Cavalry is the sound of Clarke coming into his own as a songwriter, enriched by Goswell's contributions. The album holds a reverence for the fragility of life and a recognition of just how vital our closest relationships are to its experience.

Despite a few moments spent in the doldrums, Park's heartfelt lyricism and serene instrumentals navigate the complexities of love and healing, reminding listeners of the ongoing process of finding wholeness.

A unique, immersive and trippy release full of unusual, angular samples and disorienting beats that recalls the early days of techno with its sci-fi themes and bold, (retro-)futuristic approach.

American Man seems to fall into the same [alt country-lite] formula, leaving little space for new ideas. They make up for that with enthusiasm and just enough grit; for those who like their country punk-y, raw and simple, American Man is a breath of fresh tobacco.

A meticulous songwriter and producer, Jordan Rakei has opened up his sound with Origin, extending an invitation into a highly creative mind eager to deepen the bonds created with his listeners.

Down to the Lowest Terms: The Soul Sessions is a triumphant return from a funk dominator.

Taken as a whole, though, EUSA is luminous, a grand gesture made up of the kind of small, gorgeous moments that will remind listeners of home--wherever that may be.

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.