There's casual grace in the band's winding and ultimately engrossing vibe and most of the earworms on the record stick like glue.

Though some fans will no doubt be put off by the band's new direction, anything more than a cursory listen reveals that HEALTH haven't made some great leap into the pop void. Rather, they've more fully embraced something that was always inherent to their music in the first place.

EL VY succeed in telling the stories of true characters on Return To The Moon, using inventive beats and fresh indie rock structures to make their tales connect.

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.

Yet despite sounding like an album that could have just as easily come out in 2009 as 2019, it's a testament to the timelessness of Power Chords' sound rather than an indication of its tedium.

Tomorrow's Hits sees the band honing the sound of last year's New Moon into a tight collection of pop-minded rock songs.

Although there are still growing pains after almost 40 years, Green Day are back with a spiky, enthusiastic vengeance. And that's always a good thing.

Rainier Fog is more than just another Alice in Chains record; it's another step in the process of redefining their sound since their first comeback record, 2009's Black Gives Way to Blue.

Tired of Tomorrow is both warm and cold, complex and straight to the point.

Virtually everything here, in its own edgy manner, points to light, hope and the endless possibility of the human spirit.

After 11 tracks of lewd, enlivened and indulgent riffage, it appears time hasn't rusted the swivel and swagger of Jesse Hughes and Josh Homme; Zipper Down finds the Eagles of Death Metal as greased up and ready to rock as ever.

Love Letters isn't the next move many expected from Metronomy following the astute pop of English Riviera, but it's a logical move and likely the best one possible for a band as imaginative, unconventional and talented as this one.

Is it less than the sum of its parts? Perhaps. However, it is an ambitious and interesting album that not only plugs the gap nicely between Tim Hecker and Oneohtrix Point Never albums but signals interesting things to come from Lopatin's SSTUDIOS series.

Often tawdry and occasionally remarkable, Damogen Furies is a scattershot release, but one that's definitely worth exploring.

The band have never been run of the mill, and their latest is no exception--it's definitely interesting. And really, that's Pussy's Dead's greatest strength: a fearless sense that evolution always trumps repeating yourself.

By daring to show a bit of personality, the Thermals continue to prove themselves in today's musical landscape.

While listening to Phèdre, one can do nothing but feel helpless in the face of nearly perfect pop experimentalism.

AlunaGeorge have done the impossible with Body Music: they've made the dynamic, progressive pop album we all hoped for.

With this album, the Parenthetical Girls position themselves as pop craftsman with depth.

Numbers proves that MellowHype are capable of making a good album without employing the over-the-top antics or shock themes they initially used to capture attention.

So much goes right here, but in scrubbing their songs of imperfections, they've also magnified their flaws. Though not quite stuck in neutral, it will certainly please the band's ever-expanding fan base while not really moving the needle creatively enough to convince sceptics that their initial opinions were unfounded.

Let's Try The After isn't a rehash, nor is it a rebirth. It's a move into the future by a group who know themselves. These songs are confident, seeking, and created of a love for communicating the essentiality of life--what better way to step into the unknown?

One thing is clear from Love Is Yours: Flasher have come back stronger than ever, with the tenacity to adapt to new musical dynamics in the same way they convey the complexities of personal connections.

Nothing groundbreaking, but a good modern soul album that draws on specific touchpoints--late '90 to early '00s R&B filtered by way of trap-minded beats--curated to today's audience.

Off/On is an all-around more palatable effort would be overselling the band's sophomore release, but once the listener ventures into mid-album territory, it's easy to point out Forma's mounting melodic maturity.

New Material's subjects are too broad for incisive commentary, and its themes of disenfranchisement and helplessness are played too straight for dark comedy. Ultimately, it's about as expressive as those one-word titles would suggest.

“My Day Off” is an instant standout. .... Other songs on Still lack these creative frameworks and aren’t quite as successful in leaving an impression.

Among the paint-by-numbers tracks, Born In The Echoes has still got a couple of artful numbers peppered throughout.

There's No Leaving Now is another sweetly concise collection of ten songs by the eloquent Swede, whose nationality remains brilliantly masked by a Midwestern twang.

The second half of the album has less attitude, exposing the softer side of the band that has come across in the lyrics since its beginning.

The problem isn't just that the result feels more like a collection of demos than a complete record; it's that the songs themselves are generally uninspired, and often feel unfinished despite being co-written, almost all of them, with top-notch songwriters.

It's her relentless musical alchemy that anchors the album, which finally finds Rose being herself, rather than attempting to sound like someone else.

It's a pleasurable, sun-drenched record — the work of a band who've found their voice, louder and clearer than before.

Without ever being outshone nor outright stealing the show, Ghostface does some of his best rapping in recent years and proves he's still got it.

Overall, the 12-track Resistance merges R&B, soul, electro and funk in a package that's compact and complete.

She's surprised everyone yet again by turning her sultry voice and razor sharp intuition in a whole new direction, building Kidsticks off beats and keyboard loops she created in a Californian backyard with Fuck Buttons' Andrew Hung.

Fidlar is easily one of the most energetic and fun-filled records in a while.

Although a few tracks ("Geryon," "Four Gut") suffer from muddy and unfocused melodies, there are far too many great ideas, quirky earworms and sonic peaks to give any critic reason to lampoon the title of this well-conceived, well-executed album.

For fans of synth-wave instrumentals or for those who want an oft-compelling, free-floating soundtrack to their workday, nobody throws a throwback party like Com Truise.

If the self-titled debut was the unobtrusive introduction, Avalanche represents the showy breakthrough the duo have been angling for.

Mixing Colours shows Roger and Brian Eno at their most casual and unguarded, but there's simply not enough variety, curiosity or sense of adventure here to dub it as a must-listen.

Despite the dream team behind it, American Utopia has much to like but little to love, perhaps its most apt, if unintended, critique of the country itself.

It's a raucous, vibrant, but well structured musical approach that brings along recognized artists (like current lead singer Corey Glover and local rap legends Mystikal and Mannie Fresh) for the ride.

Straightforward and simple, A Eulogy for the Damned isn't a work of great musical genius, but is refreshing in its bravado and simplicity.

Musostics isn't an unpleasant listen by any means, but it doesn't have the same kind of warmth and charm as his pals' music.

There's nothing quite crazy enough, however, to be truly exciting and the slower numbers offer little in the way of texture or atmosphere.

It's a solid go at moving away from the sounds of standard house on an album that could have gone either way.

The band compel with each of their unique flourishes, which work together to enhance the listening experience, making Beyul a thought-provoking, yet easily digestible album.

Unique and dynamic, this is what Clutch do--and do best.

Even if you appreciate Havoc's reliability, you'll miss Prodigy's unpredictable diction.

It only takes a few spins to detach oneself from the hype and respect the admirable groundwork laid down here for future greatness.

While the half-tempo sections and increasingly unique guitar solos differentiate this material from that of the past, Everblack ultimately falls under the shadow of its predecessor.

Waverly has a very consistent tenor that makes it a singular achievement, one that both creeps and soothes simultaneously.

The result is an LP that manages to look forward while honouring the past simultaneously, which is no mean feat these days.

Rhythm & Blues is a late career milestone that backs up all of the accolades Guy has ever received.

There may be plenty of the same things here, but they're executed superbly.

Sure, there are more awesome parts on Wolves Within than you can shake a (drum) stick at, but so too are there plenty of misplaced ones.

III's hazy, after-hours vibe is infectious, and these songs reveal fresh nuance with repeat listens.

"Nuage d'Ivoire" is one of Par Avion's highlights, while some slower pieces, like "Reflections," seem to drag on a bit.

Under Pressure finds Logic breaking out as an all-star emcee, raising the bar higher than anyone could've predicted.

It's an album that has a nice enough groove throughout, and again, the quality of the production really cannot be overstated.

The album accomplishes what Psutka set out to do, which was to convey the dichotomy of club music through a minimalist and deconstructionist lens, and it does so unapologetically and with considerable confidence.

Cancer Bats' most experimental album might also be their catchiest.

Tales From Wyoming stays safely in the established genre without trying to be groundbreaking, but simplicity and quirky immaturity are the bread and butter of pop punk, and there's enough to satisfy here.

The title of their latest isn't hyperbole; if this record's any indication, Silverstein are most definitely still alive.

This recording is a great addition to his musical catalogue, and a fine way to fall in love with Shakespeare all over again, to boot.

Nothing's going to change the fact that Hatebreed are the biggest hardcore band in the world, but this album doesn't do enough to win back those who got them there. Instead, it focuses too much on appealing to those who keep them there.

Angeleno, the triumphant debut from Los Angeles-based Sam Outlaw, is perhaps the best example of this old sound we've had in 40 years.

Flying Microtonal Banana is another wonderful release by King Gizzard.

It's true that Fujiya & Miyagi have a particular formula, and they seem to follow it on their self-titled LP, but they've managed to figure out when to use this formula to satiate listeners and when to tweak it to make listeners salivate.

The fact that it's essentially more of the same might make it uninteresting to some, but to fans of the band or any of its widely known predecessors like Jimmy Eat World or Taking Back Sunday, that sameness will bring a welcome sense of comfort.

It's the second half of the album where Reinhart takes over the vocals to sing a string delightfully warped groove pop songs with math punk flourishes that the band feel the most cohesive.

If there's one general criticism to be made here it could be that the album lingers a bit too much in a dark and dramatic mood (especially in the first four songs), but that's less an outright flaw and more a desire for more of the playfulness that appears in the second half of the record.

On Take Flight, Coles provides a stunning journey of immersive and emotive house music. While most artists would buckle under the weight of 24 tracks, Maya pulls off the feat with ease.

This LP captures Shigeto's embracing of myriad sounds, styles and sensibilities, and while his original sound still shines through, he shows the listener that diving into new territory can have massive payoffs.

The band still know how to write a good "whoa-oh," and their message has been sharpened by outside factors, making it seem more vital than ever. Anti-Flag haven't changed; the world has.

There is self-deprecation and honesty to In an Open Field that combines with musical prowess to form a thoroughly enjoyable, thoughtful record. Few writers possess the melodic ability and communicative skill that Nicholas Krgovich does. He remains one of the finest pop songwriters along the coast.

The whole collection works to move beyond predictable conclusions though, and as a result, each listen holds a new discovery.

Yes, Erase Me also features more singing and less metalcore than has been standard in Underoath's career, but it straddles Sleepwave's experimentations, landing on the catchier side ("Rapture," "Wake Me"), more energetic side ("It Has to Start Somewhere," "Hold Your Breath") or somehow pushing both extremes ("In Motion," "Sink With You").

Everett has always been loathe to stand in one place for too long so it's quite possible that we'll see yet another side of him in a matter of months. For now, The Deconstruction is a rather rote and lackluster return.

Panic Blooms is a shadowy, leaking sibling, licking its wounds and pulling back from the sunlight. There seem to be fewer entry points here than with other BSMR albums, but there's also a comfort in its unabashed adherence to exploring bad feelings: hearing weirdos call it like they see it, even when the going's gotten rough, offers some strange sense of reprieve.

If not the most focused entry in the project's storied discography, it's a delightfully wide angled glance at what the Orb still have brewing and perhaps a projection of a vital new period of experimentation.

Themes for Television works as the perfect translational piece between Windswept and the much lighter, more traditionally ambient followup Digital Rain, despite actually arriving in the wake of the latter.

There is less attention paid, it seems, not to the writing, which is often clever and quite sharp, but to the performing of the writing against the virtuosity of the instrumental performances. The balance puts the album unnecessarily on edge. All that said, this is one of the better examples of what post- or progressive bluegrass can do.

ATW is perplexing in its ability to both continue many of All Them Witches' songwriting motifs while often (and sometimes simultaneously) subverting them altogether.

These unapologetically authentic offerings are balanced with several from the band's comparatively tidier self-titled LP era. The unholy marriage of mayhem and hookery on the infectiously melodic "Dirty Shirt" and "Leave Me Out" begs to be bowed to.

Blossom shows much promise for AI-augmented composition in the realm of electronic sound. It's unlikely that a software version of the Beatles will exist in our lifetime, but Purgas and Ginzburg have proven that the boundaries of technological possibility are completely mutable.

The work to weave so much together — and do it so well — speaks to Frisell's skill as a composer. His affable, warm nature seeks to connect people, sounds and ideas. On Harmony, Frisell seems to have found just that.

Their sound is hypnotic and abstract, as though they're disassembling and reassembling songs and sounds as they go — and the result is a quietly, dreamily thrilling listening experience.

Blandly vapid songs.

Dealing with Demons I has its moments, but the music is ultimately plagued by the inescapable realization that DevilDriver are better as a band than as Dez Fafara and company.

Although its runtime of 16 tracks and 67 minute means that a portion of Q36 dips in energy, Rentals fans will no doubt count Sharp's latest outing as a ambitious, astute and listenable achievement.

While A Billion Little Lights as a whole is not as elegantly cohesive as Wild Pink's past work, the starry-eyed melodies shine stronger and more confidently than ever.

Eleki and psych rock appear to not be enough for the seven-piece's voracious and diverse musical appetites, and Shirushi offers many directions from which the band could reasonably choose.

Your reception towards Convocations will depend on your patience, your tolerance for experimental albums, and whether you're even a fan of Stevens' instrumental work to begin with. If you're not, then Stevens exploring grief via Brian Eno-style minimalism is not going to be what swings the pendulum for you. For Stevens' disciples though, there's enough here to warrant a poring over reminiscent of the same given to holy books.

Some additional layers wouldn't hurt next time around, and perhaps some brighter, more varied production when the opportunity arises, but this is a solid, high-energy debut from a pair that definitely has their style figured out already, with lots of room to build.

Balvin proves to be taking risks the whole way through. With JOSE, J Balvin offers stiff competition to Kanye and Drake's recent 20-plus song efforts with a far more consistent effort.

The return to a more electronic-based production style is a welcome homecoming, allowing every pluck of the guitar and gentle synth stroke to speak for itself. Infinite Health is medicinal music for the soul. Santé!