These are soundscapes rather than tracks.

Ricky Music shows a different side to Porches as an artist that we haven't seen before; it may be more produced and heavily Auto-Tuned, which takes away from his strong vocals, but it's refreshing to hear a new side to Porches.

For the most part, these ten tracks are a welcome throwback to the summery fun of The Blue Album and The Green Album.

All in all, Half-Light makes it apparent just how much of what was captivating about Vampire Weekend came from Batmanglij, solidifying the newly independent musician as a collaborator artists from multiple genres should--and do--want to work with.

Time Ain't Accidental is filled with minimalist modern country ballads that gently dissolve like a sugar cube on your tongue.

Although Romans is a collaborative effort between two dance floor heavyweights in their own right, the largely dark sound that has distinguished previous releases from Haslam emerges as this record's strongest aspect.

On The Narrows, Phillips hasn't so much reinvented his craft, he just reinvented his perspective.

While Unfidelity isn't the greatest or most ambitious album in the Edwards canon, it certainly sounds the prettiest, making it a perfect port of entry for interested listeners with sensitive palates.

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.

Such a wide breath of influences can come across as convoluted in the hands of less-skilled musicians, but Darnielle has always had the right people around him to understand his vision, whether its voluble tracks like "Rat Queen" or the stripped-back shuffle of the title track.

The music has remained familiar, as Dani has one of the most idiosyncratic and immediately recognizable voices in metal, but the perpetual whirlwind of members has made every Cradle of Filth album feel unique, and Cryptoriana is no different.

On COW / Chill Out, World!, the Orb's easily digestible and absorbent songs make it simple for the listener to take the album's titular advice.

It's possible that hyperpop purists and longtime Harle fans will wince at the sanded-down edges and softened tones that make up this album — go listen to "Boing Beat" or "Interlocked" for an ungentle reminder of how bonkers Harlecore remains a half-decade a later. And yet, Cerulean is undeniably fun, and cements Harle's standing as a singular artist in the world of progressive pop.

It's clear that the death of his good friend and musical partner affects Kode9 on a deep level, making Nothing one of the most honest and emotionally challenging electronic releases in recent memory.

Like the 6 God's "playlist," this mixtape has no higher purpose than to let its creators run wild, showcasing their prodigious talents with frequent moments of pop brilliance.

Post-rock, grunge, hardcore, noise-rock; it's all fair game in the eyes of Big Ups, and this album is all the better for it.

LaMontagne seems more centered and confident as a songwriter this time around, imbuing the tunes with a sparseness that makes the whole effort more homemade and intimate.

Eyes on the Lines is unmistakably a guitarist's album, yet luckily for most, Gunn's song writing is also remarkably accessible. The listener may not find themselves with catchy vocal hooks stuck in their head after a first listen, but they'll definitely be humming riffs and guitar lines for several hours afterward.

Preoccupations are steadying their footing here, both growing up and grounding themselves sonically.

Ash doesn't feel as world-shifting or momentous as their debut, but operates on a more intimate level.

If Obey contains a fatal flaw, it's that it can't quite balance these old hallmarks with its new flourishes in a way that feels totally coherent. But like any work of capable termite art, it still manages to set a particular mood that digs its way deep under the skin.

The trio showcase their curiosity and inventiveness to create dark, deranged atmospheres that are simultaneously appalling and beautiful. Even with its lack of live drums or guitar riffs, Grave of a Dog is bound to keep listeners up at night.

Waxing Moon presents a kind of transition in Foon's career, possessing full helpings of the despair and hope that is baked into the DNA of her earlier work, but with a further articulation of those emotions, becoming a visible and dimly spotlighted person standing in front of the monolith.

Someday Is Today pairs fragmented, stream-of-consciousness lyrics with soundscapes that flow and grow at their own pace, balancing the post-rock proclivities of Do Make Say Think with the lazy drum machines and synthesizers of Beach House (especially on the opening track, "Hold Me In Your Mind").

A sense of glee infuses every weird noise and sludgy riff.

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

A.I.M. may not be concise, but it's focused and purposeful, a loose collection characterized by sticky-hot swagger, political awareness and, most importantly, urgency.

For the most part, this is just the same old Weezer with added two-hand tapping. That's a good thing, since the half-hearted metal schtick is mostly just an excuse for frontman Rivers Cuomo and his bandmates to crank their amps and play the power pop they do best. It's a less radical experiment than this year's all-acoustic, orchestra-assisted OK Human.

Where the drums of Joli Mai were, more often than not, ready to roll one over at any given point, Cherry blossoms as a listen worth savouring as Daphni's melodious detail leads the dance.

Hard Believer has a simmering urgency, but though the album seems like it's always building to something, when it ends, you can feel how far it has come.

Although The Unraveling is a strong album thematically, songwriters Patterson Hood and Mike Cooley do little to push these songs forward sonically, as tracks like the Replacements-lite "Heroin Again" and the nightclub crooner "Grievance Merchants" can attest. Nevertheless, on The Unraveling, Drive-By Truckers deliver another socially charged to-the-bone manifesto that sticks closely to their newfound credo: If the country's still broke, keep trying to fix it.

At a protracted 70 minutes, Morgan's latest may be a bit too arduous for its foundation, but Loscil has always been an artist unafraid to exhaust an idea to its fullest, and Clara proves this in spades.

The North Borders introduces a host of vocalists to accompany solid arrangements.

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 duo's 13th studio album, Super, will appeal to the cult following that's stuck with them over the years while reaffirming their continued relevance and influence.

It's a slightly scattered record, but one fuelled by an invigorating conviction and helmed by an artist with the gravitational pull to make it all align.

By demonstrating the passion with which he performs these songs, as well as the inventive instrumentation, Callinan has reaffirmed the sincerity in his music that is so often elided by his provocative image.

It's Foxing in a new shape, a first-hand witness of the evolution of a band that were really good just the way they were. While these changes may not be welcome with open arms, the thoughtfulness and artistry deserves a round of applause.

It will perhaps be a surprising listen to fans expecting more upbeat material, but if you can surrender to the slower, weightier swells of this album, you might just find yourself floating.

The songs don't hit quite as hard or as immediately as that high watermark [Celebration Rock]. But there's also nothing to suggest that Japandroids couldn't have carried on, dropping albums when they had material, touring when it suited their schedules.

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.

Fade Away is by no means a backslide--these are some of Cosentino's best songs to date--but rather than pointing the way forward, this EP feels more like the end of an era.

Wenu Wenu does a decent job presenting the veteran singer, but your desire to return to this disc hinges upon your enthusiasm for that instrument's unique sound.

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.

There is a lot to chew on here, and that's what makes GLOW ON an album that will stay fresh after many replays.

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

No mere addendum, it lives up to the high bar set by Hynes, while giving us a small, but significant, glimpse into his process.

While not every track bangs, the three managed to create a fairly strong record.

This mining of the best of days gone by, without falling blindly into nostalgia, makes the Frightnrs' approach a perfect fit for Daptone's retro roster.

Despite the glaring transition on El Dorado, there's no identity crisis to be found — King is just as commanding as a crooner as he is with his guitar wailing through a cranked-up amplifier. It's unclear where King will go next, or how much of Auerbach's influence directed the sound of El Dorado, but King certainly has the versatility to make any shift worth listening to.

Voyeuristic as it is, Dirty Projectors truly does feel like a record he had to make, not to mention one that's well worth our attention.

This project is the high energy expected by a mare balancing sugar and spice just in time for the hotties — Megan's fan club — to warm up to for the summer.

Amygdala manages to feel like a singular labour of love, a 78-minute piece that never feels laborious that is the accomplishment.

Girl Friday doesn't allow you to consume their music conveniently; you have to recognize the group of people who made it. They speak bluntly, demand respect, equity, and play a ton of enjoyable music.

Mayer's instincts, developed behind the decks, come subtly bleeding through on Mantasy, but his sophmore album also shows an artist that's comfortable with revealing lurking melodies and smearing the lines between genres as a producer.

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

While it lacks the political punch of 2015 album Ba Power, Miri stands on its own as a call for peace, mindfulness and reflection.

While the mix is peppered with samples from Butler's yoga guru, Parahamansa Yogananda, aiming for a spiritual vibe, this set is really one big party.

By all accounts, Honest reveals that Future's music was never a "right place, right time" story, but one that's unique and has staying power.

Give a Glimpse of What Yer Not is another fine entry into Dinosaur Jr.'s ever-expanding catalogue. Whether or not the group are attracting new listeners with these releases is unclear, but they're certainly doing nothing to dissuade old ones.

Having only a few minor setbacks, The Talkies is an exciting new addition to Girl Band's discography with its refinement of their sonorous experimental punk style and its ability to stay intensely enthralling, avoiding repetition. Getting deeper and darker than ever before on The Talkies, it will be interesting to see what Girl Band do next.

Sweating the Plague shows Robert Pollard achieving the near-impossible; stringing together a steady decade of such strong material this late into his band's career.

It looks like there may be some wind left in this crew's sails after all.

Chami really does know how to use her voice to soothe, entrance and fascinate. This, combined with the uncanny synth melodies that she is able to concoct seemingly out of thin air, is what makes her music enjoyable, and practically ineffable.

Some of its improvisations feel more impenetrable than others. But the album's unpredictable nature gives it some of its finest moments.

Mark Kozelek is a skeletal record, composed almost exclusively with guitar loops and vocals tracks, designed to serve as a vehicle for his diary-like lyrics. Some may argue that Kozelek aims for quantity over quality, while others wait attentively for his next correspondence.

There was a sense that this record would be Speedy Ortiz's great leap forward. Instead, we get some tentative baby steps in the right direction, as the band settle for just really good instead of truly great.

There is a simmering sense of joy and positivity throughout, even while the lyrical content often remains affectingly bittersweet. Lay's voice is soft and lovely, and her vocals are more meandering than melodic. But her voice also carries an unpretentious gravitas that helps to ground the album.

Cracker Island is the most focused and least eclectic instalment in the band's discography — and for that reason, it absolutely breezes by.

Networker is like a clock; it never hesitates or loses its pace, and it's constantly ticking. Yet the record feels unhinged, wily and obscure — as if the clock is hanging so askew, it might just fall off the wall.

The Haunted Man is defined by a more refined sensibility, drawing back the playful clatter of her first two albums in favour of sparser arrangements and a slightly elegiac tone.

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

As an appetizer to hold over fans until his album drops this summer, Dark Lane Demo Tapes serves its purpose. There's nothing groundbreaking here, but that doesn't matter. This album is a hit, whether you like it or not.

Whereas 936 introduced us to a wonderland of dub-infused psychedelia, Lucifer features a much wider scope from the duo.

Bizarrely infectious and never dull, this album of anarchistic yet spiritually reverent psychedelic experimental ragas is well worth checking out.

Unsettling and compelling in equal measure, Colonial Patterns is an album that not only requires repeat listens for it to slowly get under your skin, but one that leaves you little choice but to let it do so, like a sore tooth you just can't stop fiddling with.

While most of these tunes have been floating around the Internet for the past few years, it's still nice to hear them on an LP that functions as a cohesive record, even if it wasn't designed that way.

More than a dozen collaborators--including Ariel Pink, Ariel Rechtshaid and Vampire Weekend's Rostam Batmanglij--helped realize these 14 tracks, but their voices never overshadow Aitchison, who is finally given the spotlight she's rightfully earned.

Sideways to New Italy is not only the perfect summer companion, but it also makes room for a reflective experience. As the band work to find what constitutes "home" again, digging into their individual pasts and the people and places who have shaped them, perhaps it can inspire listeners to look inwards and do the same.

Overall, Wintres Woma is a great showcase for this extraordinary folk hero that suggests even better things might be to come.

What arose from those conjuring sessions is a smoky blend of well-tempered jazz, nearly-still new age, and exploratory adult contemporary vibes. The music is hushed, steady and patient. Synths flourish, horns intonate and a slippery bass swerves all over the place.

This is another worthy addition to a wonderful discography from a genuine roots music hero.

The Unborn Capitalist from Limbo is simultaneously unsettling and comforting in nature, as Hanson achieves what he ostensibly set out to do here: set a mood stuck somewhere between Heaven and Earth.

If you're not in a particular mood, listening to this can be a chore. If you are in the mood, though, this is another solid entry in a series full of them.

A sometimes-psychedelic tinge lifts Fullbrook's usual folk just off the ground. But Fullbrook's voice is still what grants the fine lines life.

It's a raucous collection of deeply-felt country — a journey through many lives. And while its electric, dust-blown sound doesn't push into any new directions, it's a fittingly rich setting for Rose's outsized personality and reedy, expressive voice.

As a mystical and cosmic album, No York! sheds light on Blu's inspiring sonic dexterity.

Whether it's the sing-songy Britpop and jazz on a song like "Out of Options'' or the contemplative soundtrack to a late night walk home on "So Tell Me…," Archives captures intense closeness and isolation, often at the same time in one song.

On a song-by-song basis, Sanchez leans into human moments to ground his bigger ideas in connection or struggle. That helps keep the more galactic concepts well-grounded.

While not everything works out as intended, the seeds have been sown for growth and refinement. The album does a great job of acknowledging the band's past, and where one can expect them to move forward.

The subdued star-crossed is unlikely to garner the same commercial success as Golden Hour. It isn't carried by standout singles or big beats, but the album isn't seeking that kind of external validation. It stands alone in its vulnerability.

Within its niche, it satisfies, but Homeboy Sandman's irrefutable skill level and work ethic deserves a bigger spotlight.

Although there's some room for improvement, Victory Lap is still a solid effort with the promise of better to come.

His whimsically removed approach worked out quite well for Strange Pleasures.

Sd Laika seemingly bucks myriad electronic music trends to create a body of work that harkens back to the genre's classic beginnings.

The Pilgrimage is a triumph.

Sad Hunk captures the band's lively chemistry, proving that five albums in, Jurvanen and company are still finding ways to make "something new for all of you with some old refrain."

Skip the umpteenth "BMF" re-treads and the album's soggy R&B bottom quarter and there's much to savour.