The result is an unpolished gem of spiritual ambiance.

Jacklin manages to rouse quite a number of emotions across these 11 tunes, including steady slow-burners, unconventional lyrics paired with bright guitars, hushed, soft singing and grungier moments here and there.

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

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

Still Life is a slick, full-bodied collection that shows that Morby has lots of sonic ideas, most of which are great.

Generally, The Temple of I & I is another satisfying Thievery Corporation affair.

Frustratingly, the record seems somewhat sleepily produced by her husband John Leventhal. One wishes for more flourish to distinguish these songs from one another.

Such concerns about the pitfalls of contemporary life are well-worn and Uniform Distortion largely retreads these coordinates. The excitement of this music, nonetheless, is its undeniable kinetic energy, as James laughs through his lyrics and bounds over his riffs.

Tyler's most musically and lyrically focused effort to date.

The formula certainly has its merits though, and Bicep bring them to the fore better than most on Isles, and all with an appealingly late-night, cosmopolitan flair, where ghostly fragments of Hindi, Turkish pop or Bulgarian choirs are just as likely to hover among the neon synths as the usual breathy trance sirens. It gives the album a bustling, urban energy that very much works in its favour, even if its style might slightly outweigh its substance sometimes.

If you're looking for a de facto greatest hits of library music, Unusual Sounds is here to provide just that.

Surrender Your Poppy Field is another solid entry in the Guided By Voices canon, and one that fans or curious onlookers that want a newer entry point into the group shouldn't miss.

This is an album that throws everything at the wall, and most of it sticks. Best enjoyed in the present.

Although Doyle's vocal melodies lack focus at times, Total Strife Forever possesses enough left-turns to satisfy the most adventurous electronic music fans.

At their best, the band use these chances to explore in moments of pure creativity. At their worst, they meander aimlessly, the live music equivalent of listening in on a conversation that was never really that interesting to begin with.

While “Tacos and Toast” is a cozy, country delight about a relaxing Saturday that develops a sharper edge as it moves along, some of Hole in My Head’s more low key tunes fail to match even the too-slick immediacy of its louder rock songs. That said, the record’s showstopper is “Give Up the Ghost.”

On The Sunset Violent, Mount Kimbie throw things at the wall and see what sticks — those flung with high velocity make the most impact.

Many Levels of Laughter might not have the drugged out vibe that most psych enthusiasts search for, but J Fernandez's versatility makes him one of the most exciting new artists around.

Several moments on Peacock Pools rank among the most emotionally resonant in McBean's monumental catalogue.

Lonely Planet is a pleasing collection of well-crafted, often beautiful sketches, and while they may not always end up anywhere specific, you'll always enjoy the journey nonetheless.

With their songs, Ratboys document an ongoing search for stability amid a feeling of unstoppable motion and upheaval — whether that means finding a shoulder to lean on, a memory to relive, or a place that really feels like yours. But if being Ratboys is as much fun as "Alien With a Sleep Mask On" sounds, that's some good company to have along for the ride.

While longtime fans might be a bit thrown off by some of the more melodic traditional metal elements throughout Jomsviking, the music is well suited to both the concept's narrative and a natural evolution of Amon Amarth's more well known style.

It's a tried, tested and true formula that has allowed these two humble cats from the land where Kirby Puckett smacked homers to do this for so long.

Everything Not Saved Will Be Lost — Part 2 is at once a satisfying and boundary-pushing listen from a band that sound hungry over a decade into their career.

Why Love Now shows Pissed Jeans' songwriting reaching new peaks of awareness and focus, all the while remaining true to their brand of dissonant punk.

It's surprising how solitary The Route to the Harmonium comes off--save for a few busy, spoken word tracks that seem to stick out like a sore thumb. But The Route to the Harmonium seems to be James Yorkston's attempt to precisely stick out amongst the crowded field of folksy singer songwriters, and he wears it (on his sleeve) very well.

The evolution can sometimes be clunky, like on "A-Ok" and "People Are Pets," when Thomson's vocal venom and the band's brash tendencies clash in some ways with the songs' brighter moods. But with "Leash" and "Bolt Cutters," they find a softer side that works quite well; each is lifted by a nicely harmonized chorus, and beneath the blown-out speakers is timeless songwriting that could be stripped down to the bones and still stand on its own.

The prevalent mood of Life In The Dark is rainy day music, obliquely referencing dark times in America through often-satirical character songs.

It's amiable, deceptively dense and, ultimately, rewarding.

Recording at Daptone studio has given the fledgling singer-songwriter some welcome vitality, boosting up the mid-range; its live-to-tape setup gives an immediacy to Rault's insouciant meld of psychedelic harmonies and willowy melodies.

In spite of its occasional faults, Chura's distinct vocals are captivating throughout Midnight. Stef Chura lets her voice crack, crease, and crumble however it wants, pairing vocal fry with vulnerable vibrato. Her voice matches Midnight's offerings perfectly, walking the line between visceral passion and an exhausted shrug.

Ology's idiosyncrasies and emotional exhibitionism make for a genuinely honest, captivating listen.

A neon sugar rush that occasionally fizzles out with filler tracks, Nothing's Real ultimately leaves a lasting impression.

For all these hits, there are more than a few tracks that slide by without making an impression. While Lauber's work often transcends the sum of its competent if unremarkable parts, things can sound a bit rote and unimaginative when they don't.

Given how commanding Powerhouse comes off thematically, there are unfortunately moments that simply don't work musically. ... But for its few flaws, Powerhouse is nonetheless rewarding, as Rostron has never sounded so raw and inventive, leaving listeners with the imperfect must-hear album of 2018.

His sixth album, Ambitions, continues to refine this style, offering up a tighter, more focused version of his sometimes sprawling tendencies. Although some may miss his more esoteric touches, this feels like the natural evolution.

Overall, Blank Face LP has enough meat to warrant several satisfying helpings.

It's a diverse mixture of sounds delivered in a cohesive and well-arranged package.

The theme of perseverance resonates strongly on the album, and the imperfections and vulnerabilities in his vocals help to encapsulate the artistic progression.

Ultimately, Wiped Out! comes off as a "see what sticks" effort; it's slick and polished, but hits varying levels of satisfaction throughout.

By toeing the party line--one that many critics and fans have completely rejected--Made in California paints a false picture of one of rock's most enduring and puzzling acts.

A deceptively lush record full of moments of striking beauty.

Hackney Diamonds may not go down as an iconic Stones LP, but this late in the game it's basically a triumph by nearly every measure.

Nothing here quite scratches the itch of both emotional catharsis and rapturous splendour the way Arcade Fire's best songs do, but after a few initial attempts at capturing our collective panic and frustration, they have finally managed to pull it off by seeing themselves as part of the problem, by putting themselves in the line of fire, and by sharing the coping strategies and counterarguments that get them through and putting them into song.

Ordinary Man isn't necessarily the best Ozzy album ever made, but if this does mark the end of his recording career, he's ended with a bang instead of a thud. The record is easily the most captivating music he's made on a solo record since the early '90s, and despite small flaws with select songs, he's created another record worthy of people's attention.

This might not be the golden, triumphant comeback Aguilera had hoped for, but it's pretty close and, let's face it, it's better than most Top 40 music right now.

On his Late Night Tales, Floating Points shows off his exceptional taste and curation skills, assembling a captivating set of songs that test just how "chill" a chill-out compilation can get.

The best moments are when all of these elements are working together to make songs both catchy and corrosive, like the propulsive "We've Come So Far" (one of the two tunes recorded in Norway with Serena-Maneesh bandleader Emil Nikolaisen) and the unhinged bass feature, "Straight."

Crusher shows that Grave Babies know how to get down with some morbid music, all in the name of good, clean fun.

WILLOW's pointed vision and eagerness to push the envelope allowed her and Greatti to construct songs that consistently take unexpected turns yet culminate in her most cohesive project to date.

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

With simple rhyme schemes, by no means is Chance an incredible rapper, but he is true to his artistry, the person he's growing into and is becoming a force in the new age rap realm.

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.

While Berman's sentiments are sweet, there's nothing revolutionary here. That said, revolution isn't a prerequisite for good music, so if insular, sensitive indie rock is your thing, you'll probably love The Echo of Pleasure.

Meloy has his art down to a science, and the Decemberists take their fans through as winding and rewarding a trip as ever, complete with an abundance of twists and turns that suggest that the journey, long as it may be, is the true reward.

PHOENIXXX is a difficult listen, abrasive and angry, but it's expressive and worthwhile if you can manage to make it through.

Here is empowering at times--it's strong in craft and intent, and will likely perform well--but the hope that Keys will deliver that iconic, instant classic album continues on.

Regardless of your level of faith or denomination, the 19-track album is accessible enough from a craft and sanctified standpoint. Whether it's for interpolations of Kanye tracks like "Fade," with "Follow Me – Faith" — itself a gospelized riff off the classic house track by Aly-Us — or for a new take on "Ultralight Beam," off 2016's The Life of Pablo, there's a lot here to vibe off of.

L.W. may not boast many surprises, but it cements its makers as masters of their realm.

It's inevitable that lately i feel EVERYTHING will be relentlessly compared to its influences and predecessors, but Willow manages to pay homage to the subculture while putting her own spin on it.

Forever may be too long to wait for Keenan's other work, but it would be wrong to say Money Shot is any less rewarding.

Folks hoping for a repeat of Rabit's 2015 pseudo-grime offering Communion will certainly be disappointed here; open-minded listeners with a penchant for the darker side of experimental dance music will find their thirst for evil slaked.

What appeals to you about this Strand of Oaks effort will likely depend on which side of this spectrum you fall on--in the heartland or out in space. That's a divide that Eraserland creates, putting it somewhat out of sync with itself, but the title track brings those worlds together beautifully.

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.

Head in the Dirt definitely bears all the hallmarks of an Auerbach production--fuzz, funk and stadium-ready choruses--and often it's difficult to tell whether El Khatib is merely serving as Auerbach's stand-in. But the catchiness of his songwriting ultimately wins the day.

It all sounds great, but the songs don't sink in, don't push past the surface.

Continue as a Guest picks up on the beats-and-synths sound that drove 2017's snappy Whiteout Conditions. Yet where that album saw Newman and Co. dabbling with syncopation, here the band is moving as one unit, deepening the music's groove.

It's a pleasant surprise to hear that he's capable of so much more.

Dark Sacred Night is a non-traditional Christmas album, but one of great import nonetheless. It makes a perfect companion for those of us whose Christmas experience is absent of the typical festivities and jubilation.

Ugly Season may lack the emotional resonance of Hadreas' best work as Perfume Genius, but it achieves a wildness that he's never quite accessed before, an alchemy between his bone-raw earlier records and the epic proportions of his later work. It's not the most essential Perfume Genius album, but it feels like an important one.

It's the slower, more "mature" tracks that disappoint here.... Still there's plenty to like on Let It Reign for Libertines fans missing that garage rock sound.

Your Hero Is Not Dead is an impressively contemplative debut album, filled with quiet music that packs a surprising emotional punch.

On their latest full-length, the duo maintain their ambition, putting together four sonically challenging tracks that range between nine and 15 minutes in length.

If hippie songstresses, piercing sopranos and meandering song craftsmanship are your bag, this album is certainly for you.

Though the sonic explorations undermine the album's overall cohesiveness, Crush remains a shining example of Shepherd's growth as an artist, and his willingness to push boundaries well into his career.

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.

The 11 tracks on Magpie and the Dandelion were recorded during the same Rick Rubin-produced sessions, and now stand as a well-timed response to those that found The Carpenter too weighty for its own good.

While Raury makes no secret of his influences, that doesn't mean he lacks his own distinctive style.

Teaspoon To The Ocean's all-encompassing aura takes you through Craig's master class of dream exploration fairly quickly, but even in the midst of all the trippy goodness, his thoughtful testaments manage to shine through track to track, giving poignant, detailed expression to the anxiety that plagues his deepest thoughts.

Hexadic is louder and more gnarly than anything else he's done under this moniker.

As with earlier releases, This River is a seamless mix of Southern soul, rock, funk and blues.

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

The Vancouver duo's captivating moments easily outnumber the few duller ones. On Lightning Dust's fourth studio album, Amber Webber's beautifully haunting voice brings hope to dark places, and following it feels like being guided to the light at the end of the tunnel.

This isn't going to be one of the classic Slayer albums, but there's still plenty of good thrash to be found on Repentless.

Minerva (née Juur) takes a few steps closer to the blurry line that separates quirky, home-taped experiments and straight-up club cuts.

Although much of the material has a familiar lustre to it, Something Shines nonetheless finds Laetitia Sadier at her most contented and focused.

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.

Though things work best when Pierce allows enough space amidst the music for the actual songs to flourish, even the jostling of the overcrowded bits is wonderful and energetic.

The accumulation of these sugary notes over the course of 45 minutes can feel somewhat sticky. This a good album, and everyone loves a bit of syrup--but you have to know when to draw the line.

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.

English Oceans, their 12th album in 17 years, confirms they've lost little of their potency, despite major personnel changes over the past decade.

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

There's nothing especially innovative or unique about Handfuls of Night, but what it does, it does very well and should find great resonance with fans and filmmakers seeking some palpable sonic gravitas to help sell an emotional scene.

In his quest for comedic and artistic transcendence, Kaufman's intense pursuit of the "real" was, at the very least, unwittingly timeless.

Though Short n' Sweet falls a few inches short of the masterful pop its singles suggested it could be, it's buoyed up by its incredibly high highs, and establishes Carpenter's identity in a pop landscape saturated with next-main-pop-girl hopefuls.

Other than a few lapses, the hooks, synths and classical instruments effectively recontextualize Architects' musicianship. For Those That Wish to Exist proves these guys can successfully diversify their sound.