Godless Prophets & the Migrant Flora is the best Darkest Hour since those two albums, and positions the band well to lead the melodeath-inflected metalcore rebirth that, if the revival of its more chaotic precursor is any indication, might be just around the corner.

It certainly sounds diminutive in scope after the triumph of Iteration, and, despite the new gear, there's not much that sounds especially new or exciting here, just the usual Com Truise stuff in a slightly reduced register.

Although Bedroom Tapes isn't a great jumping off point to demonstrate what Special Request does best, tracks like the throbbing "Thermatropic" and the joyous "Double Rainbow" make this "forgotten" collection a worthy listen for long-time fans.

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.

Clockwork Angels sounds as mighty as its concept, with the well-balanced interaction amongst Lee, Lifeson and Peart.

Mended With Gold, is a satisfyingly anthemic work wrapped around a highly emotional core that is distinctively--and eternally--theirs.

Despite their proficiency, the Messthetics' individual talents don't entirely gel as an ensemble yet. Their debut is flashy, but it won't bring them out of the shadow of Canty and Lally's more famous projects.

Airy, vaguely psychedelic and meaningful, Beyond the Times is a gorgeous exhibition from a thoughtful, voracious artist relishing a whole new outlet.

Apart from a generic cameo from Kurupt on "Ride," 7 Days of Funk is an infectious, modern take on the funk genre--here's hoping that Snoopzilla and Dâm-Funk will collaborate again.

Fans of surrealist, lo-fi beats and the 1980s will finds Edwards' beach worth visiting.

Visuals is drenched in grandiosity, but many of its songs are devoid of proper exploration; instead of pushing the limits, they often feel idle.

Here, Scott Kannberg finally comes to terms with what originally made him such an important part of Pavement and the '90s underground scene--and runs with it.

Whether you came of age in the '90s or were just born then, the History of Apple Pie have what you need.

If more attention was paid to crafting better songs, rather than just sounds, Howl would have been much more fulfilling.

Handling the production duties on What's Between is the Haxan Cloak, whose own cavernous soundscapes are perhaps the most metal thing in electronic music these days. The pairing is apt and the results are fantastic.

With this album, Gallows have fine-tuned their previously established sound, creating a cohesive and powerful set of songs.

Thoughtful, relentless, arty and uncompromisingly queer, Fist City are a rough gem in the unforgiving expanse of the Rockies.

Perfectly written, recorded and performed, Along The Shadow is less an emo revival than a full-on reconstitution.

Mark of the Blade is a bit hit-and-miss. Musically, the new touches work well and flow with the rest of the album, but the clean vocals in particular feel forced and sorely out of place.

Though Hail to the King failed to live up to the royal expectations of its titular disguise, The Stage's grandiosity smells of overcompensation; Avenged Sevenfold's crown lies somewhere in between.

There are quick movements at play, but the locomotion is sort of listless.

What makes C'est ça such a triumphant return for the band lies in just how damn listenable Fly Pan Am make it all come off, giving fans something much more adventurous and challenging than simple nostalgia would ever allow.

Even when an experiment fails, it does so in intriguing and unpredictable ways.

For fans that saw the culmination of his artistic prowess in Gliss Riffer, Mystic Familiar will fulfill many of the same needs, but with even greater balance in execution.

While Home lacks the consistency of previous records, it makes a strong case for Rhye as a pop star waiting in the wings, à la the Weeknd, thanks to a voice versatile enough to complement any instrumental choice. Four albums in, Rhye has finally begun to branch out, and not a moment too soon.

Like eggnog, it's excellent in December but probably a little nauseating come January.

With their latest release, Depeche Mode prove they have both the musical depth and strength of conviction to outlast us all.

For Tweedy diehards, these intimate reworks may come off as a nice fireside chat with an old friend, but those less familiar with the singer are better off starting with the originals.

With ten ridiculously infectious songs clocking in at just 22 minutes, Joanna Gruesome are in no danger of wearing out their welcome.

Inner Fire further cements the Souljazz Orchestra in a class of their own on the world music circuit.

This isn't poppier than anything they've done over the past decade or so, but few individual songs stick out like good pop songs should.

Righteous indignation has long fuelled OFF!, but Wasted Years is the band at their darkest and most venomous.

With The Parallax II: Future Sequence, Between the Buried and Me have managed to craft metal that's not just for metal heads, but will excite them just the same.

Yes, on the surface Feels Like Home is a makeover aimed at the parents of every Taylor Swift fan, but the essence of Crow's sound remains intact, and irresistible.

The Shakes is nonetheless brimming with alien sounds and left-field rhythms (culled from objects purchased on eBay), proving that even the most subdued Herbert release is still pretty damn fascinating.

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.

While casual listeners may find this humour flippant, given the topics explored on Miami Memory, closer listens reveal a mature and surprisingly au courant album that grapples with complex social issues in a commendably fearless way.

On paper this is a solid album, and Plaid have pushed all the right buttons, but they've pushed those same buttons many times before.

It's frankly still a pleasure to hear Lindstrøm masterfully keep everything in check, but there's a distinct lack of the full-throttle joyousness that he's capable of. If it was his intentional choice to temper that instinct, it was sadly misjudged.

Beauty Behind the Madness proves that the Weeknd can thrive in the mainstream, and while the lyrics aren't overtly profound, he's proven that he is more versatile than previously thought, which is perhaps of greater importance at this stage in his career.

With this hugely energetic disc, consisting of eight tunes in 32 minutes, Early Graves have proven that they can survive a horrible catastrophe and continue to make great music.

The Behind the Green Door EP contains some of the most comfortably weird grooves we've heard from Laurel Halo.

There isn't a bad track here, and from the sound of Ibibio Sound Machine, it appears that Soundway is intent on delivering new music every bit as distinguished as its esteemed reissues.

Luneworks is not a lulling listen; rather, the album seems to turn restlessly with sonic insomnia, the songs tracing the arc of some sleepless passage like a night plagued by intense longing.

Spooky Action is an incredibly simple record that's rescued by a primal energy and emotional output that artists half Loewenstein's age wished they possessed.

Sixteen Oceans is a sign of Hebden settling into his well-trodden niche. Occasionally, one can wish for the unbridled eclecticism of his earlier days, but that doesn't seem to be of any concern for an artist who is in complete contentment of his place in the musical world.

The music slides along with a relationship to various genres that is curious and sincere while not making a firm commitment to any one, and with a depth and complexity that underlies the gentle waves on the surface.

Say What? is hardly DOOM's definitive work, but it gives us one last snapshot of a solitary mind that spurted in wonderfully volatile ways.

Mr. Mitch goes full experimental, recalling the work of similarly minded artists such as Evian Christ and Shabazz Palaces, albeit in a more muted way.

Unfortunately, a lack of cohesion drains this album's momentum entirely.

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.

Never the Right Time is excitingly different, if inconsistent. The well-known pillars of Stott's sound still underpin much of what happens across the album's nine tracks, yet the way those pillars are occasionally arranged have made way for new kinds of space.

All the elements that have made for their most enjoyable material are still here, and the band shows they are just as capable as they have always been on captivating listeners.

Unlike the conceptual rock opera project that was Nostradamus, Redeemer of Souls is pure metal joy, full of surging anthems, martial stomps, unbridled passion and huge, crunchy production values.

Phantom Island is a mature reflection on grappling with success. Musically, King Gizzard may never step foot in the same stream twice, but it's clear they're here for each other wherever the current takes them.

Too often, it is more than halfway boring. It isn't uninspired or weakly performed. Rather, it is boring in spite of the overwhelming bombast, the booming bass and pounding drums, the huge vocals, the wailing guitars; it is boring because rather than electrifying you, it distances and anaesthetizes.... The good news is that those songs are, most of them anyway, pretty great.

Despite the lesser tracks on the record, Forward Motion Godyssey is a strong sophomore attempt from Post Animal. The band still have yet to truly define their unique identity, but as they are now, they are one of the stronger genre-bending psychedelic rock groups around.

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.

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.

Born in the UK, based Stateside and of Sudanese descent, Sinkane has been able to draw his worldly experiences into something that's at once relatable, abstract and pertinent.

While EG.0 holds Goulding's mainstream radio hits, it's Brightest Blue that has evolved Ellie Goulding as a songwriter. She's created two distinct spaces on this record, which allows her to continue her musical evolution while simultaneously maintaining her pop throne as pop royalty.

In joining the "real world," he's crafted his best album yet.

I Like Fun remains a strong, if not exactly noteworthy album, simply because TMBG are a strong band that can pull off anything at this point, and although newcomers looking for examples of their late-career excellence should probably start with recent gems like Glean or Nanobots, longtime fans will find much to like here, crunchy guitars and all.

Though their unwavering embrace of pop on this record might seem antagonistic in and of itself, they still manage to sound convincingly earnest and (for the first time) fun.

On II, Moderat have created an evolving piece of art that manages to both reference and reinvent their respective musical blueprints.

Doubtless, the boy from Troy, NY has given his audience a lot to chew on with Madman; some of it folk, some of it rock, all of it good.

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

There's nothing too farfetched or strikingly new here, but Still Life of Citrus and Slime is without a doubt a pure example of rock'n'roll.

Jay II is a mysterious, endlessly enjoyable collection of songs that reveal more and more with subsequent listens.

Big Box of Chocolates, like its name suggests, can favour quantity over quality and a mix of good and not so good, but if you take it as it is--an easy-going record made by '70s rock enthusiasts--it packs enough good vibes to keep you listening.

As anarchic as it may seem on first listen, No_One Every Really Dies smoothes out a little more with each play. It's a strong comeback for the daring trio.

Fans of Mastodon's swamp prog and Tool's art-school alternative will find plenty to like.

On Through a Wall, Single Mothers have managed to preserve something old and mix it with something new.

Medium Rarities isn't essential. A few tracks stand out, but the real excitement lies ahead. Mastodon's last few albums have crept up the top 10.

Alfa Mist weaves masterfully from threads of nostalgia, but Bring Backs, when you unravel it, is more of an ode to faith and resilience than a mournful remark on what is gone.

It's when producer the Alchemist trims and arranges that Bronson becomes a salable bouquet.

Clark can do it all and it's entirely likely that Blak And Blu will be recognized in the future as a moment when American music suddenly got a great deal more interesting.

He remains unchallenged when it comes to his ability to create organic sound that is at once full-bodied, warm, and filled with textures from around the world. Bonobo's growth, too, across the past two decades has seen a natural and consistent progression; each record building beautifully on the last. Fragments is no exception.

When Olsen sings, the record takes on an ephemeral sad-in-a-good way vibe, Merritt's and Gustafson's voices also blend with McEntire's terrifically, making Lionheart enjoyable on the level of a record of country duets as well.

The finely curated production on Slime Language 2 provides a perfect snapshot of the evolution of Atlanta's sound.

Many avant-garde instrumental albums exist to strictly craft a mood, and Tom Rogerson and Brian Eno somehow seem to merge these moods, sounds and themes together effortlessly and radiantly on Finding Shore.

Like the murky corners of the city that birthed it, Get Back is filled with interesting diversions, even if those ideas don't necessarily add up to a unified vision.

Empress Of takes listeners into a rich sonic environment on Us, while placing careful emphasis on the emotional territory she ventures into. The universality Rodriguez has sought to embody the record with is present, yet the vulnerability she is known for remains.

Although Jim White and Marisa Anderson never seem to give themselves enough time or space to truly stretch out, The Quickening nonetheless captures two masters at their most free.

For each song where the more minimal sonic approach comes up short, there are places on Temple where it succeeds.

The potency of Toots Hibbert's material is evidenced by the presence of his classic tune "Pressure Drop" in a current TV beer commercial. No single track on Got to Be Tough matches up to that song, but this is a solid offering from the 77-year-old.

What Trouble lacks in focus, it largely makes up for with ambition and dexterity.

Egypt Station is best when McCartney is at his most eclectic.

In the past, Femi has sounded just as vital and his playing just as powerful, but he's never done it in such radiant tones.

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

It's a comfortable collision of songs that probably won't gain many new listeners, but should find a home in real fans' collections, despite its lack of risk-taking.

Although it's an intertextual and oftentimes challenging listen, Future Politics is also a compelling call to action to collectively conceive of the future and its manifold possibilities.

The record is, unfortunately and overwhelmingly, a bland release from a band that feels like they're stuck going through the motions.

Though Key hosts the padding typical of latter day Doom, the highlights bode well for Madvillainy 2.

falling or flying may fall a bit short of the expectations set by her debut, but it does fly in the face of what you'd expect of someone on their second outing as a solo artist. It's a solid effort despite some missteps — among the clutter is some of the best material of Smith's young career.

Modern Ruin is a solid, well-balanced effort that showcases Frank Carter's versatility as an artist while pleasing fans of his previous work.

Ultraviolence prioritizes mood over innovation, classicism over experimentalism, and is better for it.

Shows that CFCF aspires to be known as a serious artist, not just an electronic one.