Rather than offering a bold new step in Reznor's long, winding career, Not the Actual Events feels more like tentative first steps towards something bigger.

With a fine balance of clean singing between Scabbia and Ferro, atop the technicality of strings and beats, there's something for everyone.

The Glorious Dead is an achingly self-aware throwback record, focusing more on the strength of each song than the album's overall structure.

The record harnesses its emotional resources to grant the listener the sweet spectacle of watching self-awareness disintegrate as the artist wriggles free from postmodern detachment, and rediscovers that most undervalued asset: his vulnerability.

DIANA blend genres and provide a real sense of intimacy on Familiar Touch, a deeply personal and musically rich collection of songs.

Sonically and thematically, the 48-minute downtempo project is impeccably cohesive, executive producers Singawd and Yakob tying a black bow on a deep list of contributing producers with brooding, layered synths and space to think. Auto-Tune appears heavily, and the guest list is firmly in the now.

Nothing is overdone here. Washington's saxophone grounds the entire project. His fiercest fans will miss hearing him out front, but that's entirely beside the point. No one's at the head of the table here. Instead we get a group of friends with genuine history and the kind of outsized talent we can only marvel at. Savour this.

This isn't a Sigur Rós album, and that's just fine. Lack of reverb-soaked bowed guitars notwithstanding, this collaboration vividly reimagines a bastion of medieval Icelandic poetry. The only issue is how long it spent under wraps.

The interludes and instrumentals only serve to interrupt the flow of the record, and it becomes clear the album is a bit of a mixed bag.

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.

King's Mouth is a light album, one that — in its best moments — ties the fantasy of its central conceit to a studied sense of reality

It makes for a frankly less fun and memorable album, but Baauer remains a master of the big party moment, and some of these are red hot.

Teeth Dreams arrives to colossal expectations, but weathers them fine and showcases a band returning to form.

Some variation in production style and sonic approach might lend the proceedings a bit more variety, but that's a relatively minor quibble to level at this confident album; these guys do what they do well, and know it.

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

Overall it's the atmosphere that haunts the album that will stick with you, assuredly.

It's only when he applies his production tricks to his own voice on tracks like "Reflection" when things tend to go awry. But its this experimental bent that makes Rap Album One stand out, and deploying these skills judicially in the future will undoubtedly pay off on the evidence of this solid, eclectic debut.

Abundance Welcoming Ghosts is, in other words, not always an easy journey, but its desire to thoughtfully explore the nooks and crannies of the land and the heart do make it worth the effort.

Forever Endeavour is indeed a humble record, but as with its touchstones, the album's power lies in its simplicity.

Although "My Last Nerve" also falls victim to mid-tempo meandering, the remainder of the album serves as some of the best thrash from thrash's best band, who sound like they play their music with a shit-eating grin and a machete hidden behind their backs.

With Sun Leads Me On, Half Moon Run are attempting to shake the title of "that band with that song" and show off how far they have come, and for the most part, it works.

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.

Although the compilation only runs at a short 66 minutes, it's the pure quality of music involved, paired with the gorgeously laid-out extensive 44-page booklet included (filled with photos and obsessively researched liner notes), that makes Pop Makossa a must-have for fans of African music and disco purists.

Expertly recorded by Martin Bisi (famous for his work with Swans, Sonic Youth and White Zombie), the production is perfect and the songs are mostly more than compelling enough to make it work.

Four Pink Walls is positioned as a warm up to her debut full length, and there's enough substance here to match and maintain expectations.

Not everything here was worth saving--the eight-minute jam "Country Brazilian Jam" could have been pared down--but overall, The Other Side of the River is a worthy companion to a classic, unsung album that stands on its own.

The dark, synth-heavy Post Plague cements Odonis Odonis's reputation as skilled composers, and keeps listeners guessing what they may have up their sleeve next.

The quality of musicianship, lyrical content and melodies on What You See Is What You Get marks one of the top calibre country albums of the decade.

A few duds abound, like the wearisome "Eat The Rich," but the album ends strongly with the sci-fi-flavoured "Colonize the Moon."

If you're a longtime fan of the source material, you're bound to find some stuff here to amuse and intrigue you, but you'll still likely see this as a collection of throwaways, of generally inferior covers of your favourite songs. But if you don't know the Dead from a ham sandwich, you may well hear tunes on this collection that turn you toward exploring that chaotic, marvellous, maddening, singular American band.

Spooky Action At A Distance is a sprawling pop album beaming with the kind of confidence none of us, likely even Pundt, expected. Some surprises are worth waiting six years for.

Surfing Strange feels like a transitional album, as the group look to define themselves with their artistic voice, rather than those of their influences.

Although not as strong as Visiter, Individ comes off as a spiritual partner to their 2008 breakthrough, showing the duo working quite well in comfortable surroundings.

With their traditional sound mixing well with some new elements, Utilitarian marks the next chapter in Napalm Death's impressive career.

Aphex Twin has made a good move here by giving a similar feel throughout the EP, but instead of having a few so-so tracks alienated by a standout one, the entire release ends up being fine but unremarkable, especially when pitted against the behemoths of his back catalogue.

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.

No Shame is exactly what it says it is--an album where all is revealed, even the unpleasant parts.

The arrival of Little Heater, only Irwin's second solo album, is therefore a notable event, and nothing about it disappoints.

This eight-song set provides a bit of insight into the evolution of Grizzly Bear's ever-ripening sound.

Dreams Worth More Than Money overflows with sonic effervescence, drawing you into the snake pit that is the mainstream hip-hop industry, with all the opulent trappings therein. Tight production support ingenious raps that continue to push the envelope of the street anthem narrative.

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.

Those who prefer the more straightforward and rousing fare the two have released outside this project should be advised that III is definitely more ethereal drift than shooting star. Longtime fans will know what to expect, however, and while it's more of the same perhaps, it's arguably the best iteration yet.

What Only Up suggests at its core is an opportunity to unite Toronto's hitherto fragmented music scene; rave music, hip-hop and bands can coexist, rebuild the scene anew and have a hell of a good time doing it.

As songs pulse and glow bright in the most dynamic of ways, it's almost bittersweet to see Mouse on Mars sounding so comfortable delivering house music, losing a bit of their identity with each passing beat.

K.T.S.E. is a strong start with an anticlimactic finish. With a bit of additional time and effort, it could have been so much more.

No one ever accused the Melvins of being boring--despite calling the record Hold It In, it's overflowing with ideas and creativity.

Swimmin' Time is every bit as good as its predecessor. Indeed, it offers several songs that leave much of what they've previously recorded in the dust.

While 10 Summers delivers everything we'd expect from DJ Mustard, it definitely doesn't challenge his artistic growth.

While her debut featured plenty of catchy tunes, Sees the Light captures Goodman in a far more confident mode, showcasing her wit and personality.

An album about religion that's not at all religious, Benoît Pioulard refuses to come off as descriptive or thematic, making Hymnal an example of a mood piece that's designed to be affecting, but never static.

Leon Bridges' sophomore record rings as an endorsement of his range. And that's a great thing for Good Thing, which tempers its pop-radio ambitions with unique bends on the age-old love song in this super-tight, 35-minute ride.

On Your Favorite Toy, it's all loud and all fast all the time. (One notable exception is "If You Only Knew," a relatively straightforward rock song that nonetheless stands out thanks to an excellent hook.) Compounding this problem is the fact that Grohl remains a frustratingly boring lyricist.

Their no-frills approach to doom is dark and incredibly heavy, but deliciously uncompromising. While it takes a few tracks for the band to shine through, it is worth the wait.

Utilizing a variety of different sound palettes, from glossy synths to pounding drums and chanting voices, Lopatin uses the Uncut Gems score to give the listener effective moments of tension, dreamlike airiness and triumph, all in equal measure, making the listening a journey all in itself.

Vår exhibit an ambition to spiral as far as possible down into some dark abyss while maintaining a constant impression of strange beauty.

Tough Love is a tour de force album, one that nails heartache with sophistication and class.

Each song on Ataraxia/Taraxis is diverse, with moments of melodious prog-rock, powerful riffs and hazy ambience; however, there's also cohesion to the EP that makes it feel expansive and utterly epic.

While many black metal albums attempt to approximate the sound that might issue from the depths of hell, Verdonkermaan actually comes close. Terrible and fascinating.

The album is not without its bright spots, as much of the Brooklyn duo's soundscapes waver somewhere between engaging and downright daring.

It's a bold start to another chapter in TesseracT's existence, who will only benefit from having all the pieces back in their rightful place.

Heavily arranged around Hans-Joachim's piano playing, much of the music on Echtzeit is surprisingly melodic, as Qluster keeps a thawing pace throughout the album.

While INVSN probably won't shock anyone sonically or lyrically, there is still definitely a spark of creativity and honest expression here.

It appears that Williamson is always fleeing from somewhere and yearns to live a life with no regrets with the time we have left. Sorceress is her personal but inspiring, magical journey to get to that point.

The piece has a propulsive quality, even if it isn't travelling at a danceable BPM, and at 41 minutes, it never lags. It's also very listenable, its infinite aural nuances — blips and bloops, pounds and crackles, hisses and animal sounds — offering a constant source of delight, calm and exploration.

It's a brand new soundtrack that doesn't require a film. Carpenter knows exactly how to appease his fans, and with Lost Themes, he has given them just what they want.

A dose of psychedelic pop, captivating hooks, and guitar trembles enhance the listening experience. Exploring the themes of new opportunities, growth, disconnection and hope, listeners can feel frontman Jack Steadman's raw emotions.

This is Ghersi in her truest form — which is to say that it is many forms at once. The record zigzags between styles and moods at a breakneck pace, collapsing genre in its wake and crafting new pop forms – never has an Arca album held so many moments of pure songcraft.

Eva Moolchan reaches new heights in her career on Happy Birthday, but not without encountering a few bumps in the road. Even at its questionable points, though, there is something beautifully refreshing about a new Sneaks album — Moolchan is having fun, and she doesn't care what you think about it.

Commonwealth offers a little something for everyone, no matter what you're looking for.

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.

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.

Originally envisioned as the first in a series of efforts to help inspire artists (hence the title), this is the perfect album to sleep, cry or meditate to, an album for life on this planet from an artist usually obscured by the whirring of machines. Imagine that.

McCartney III is more than your average covers album — each collaborator stretches the skeletons of McCartney's songs into something new, making the album an unconventional collection of tracks that bypass the rules of genre and sonic cohesion. Few will enjoy every track on this album, but it's the versatility and diversity throughout these tracks that truly make McCartney III Imagined the record that it is.

Her drive and influences are there, but, moving forward, the search for hooks may remain her greatest challenge.

Few of his contemporaries possess a post-important-band solo discography as prolific and consistently great as that of Stephen Malkmus, but each new album firmly leaves his past in the dust.

The majority of the record does take the tortoise's path to victory and proves that with this kind of music, it's really not a race at all, but a fight.

While not as album-oriented as their past efforts have been, Fashion Week functions well as a beat tape through the diverse range of influences that Hill and producer Andy "Flatlander" Morin and have chosen to explore.

The slow roll-out of singles over the past few months leading up to its release makes Product hard to consider as a singular cohesive package, but as a primer on SOPHIE, it's as good as it gets, a snapshot of an exciting artist whose tightrope walk between sweet and scary, pop and avant-garde, has yielded some of the best singles of the past few years.

While various artists-type vehicles do tend to feel disjointed in spots — this one included— the versatility and energy of the Free Nationals is bolstered by their upper tier level of craft, something a lot of backing bands rarely receive credit for. With that in mind, this self-titled outing is a treat.

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.

There is an invigorating energy that shines through the lyrics and tempo of this album, so although lyrics about the finer things of California living aren't necessarily profound or entirely relatable, on Man About Town, Hawthorne's buoyant optimism for beginning anew in 2016 is utterly contagious.

The rest is more than art for art's sake, and a pleasure for the ADD listener in all of us.

The drawback is that the lyrics are often too hushed and garbled, which makes it seem like he doesn't really care about what he's saying, and so maybe you shouldn't, either.

She takes a left turn after her more recognizable house palette in the first half of the EP.

Delete the rest of the interludes and you'll have a worthy sequel to Deltron's debut.

Luminous is a tremendously dense record, but one that manages to find ample breathing space for each of its studio takes.

The good news is that even without Adrian Younge's luscious music to draw from, Premier has found a clearly ample replacement with the more eclectic, less retro up-and-coming composer Antman Wonder. All that, along with Royce's ambitious spitting, make PRhyme 2 a prime contender for the best hip-hop LP of 2018.

Between appealing beats and this discomfiting tone, Silver Eye sits in a middle zone--and while it could give listeners some better-defined emotional content behind the android-y veneer, it's by no means borin

This record accomplishes what it sets out to do, engaging the listener with indisputably catchy moments, if a little inconsistently, throughout.

The result is a record that is powerfully alluring and timeless.

No doubt existing fans will love this about the album, but newcomers might be turned off by the uniform approach throughout. Still, Songs of the Recollection is a joy to listen to, start to finish.

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.

Where some might find their centre in such a locale, the self-imposed echo chamber seems to have exacerbated their worst individual qualities.

The London Sessions has a swanky premise, and finds Blige in an artistically intrepid mode. It's also one of her best efforts in recent years.

The album is emotionally mature beyond his years, and like 1999, it is a gateway to hip-hop sounds of the past while looking to the future, making for a project that shouldn't be skipped this year.

A Khruangbin dub record isn't particularly Earth-shattering, especially when dub was already so present in their music. But it's an opportunity for the band to really show off their strengths and further establish what makes them unique.

If You're Dreaming showcases Burch's ability to communicate a wide range of feelings through her music, from the sultry melancholy of "Jacket" to the tender reassurance of album closer "Here With You." This record is perfect for closing your eyes and retreating inwards, letting Burch's dreamy melodies guide you through some afternoon introspection.

Though initially intimidating, 13 Degrees Of Reality's murky, dub-inspired sound and paranoid aura get under the skin after repeated listens.