It's an impressive compilation of provocatively disparate ideas, but taken in in its intended order, there's a mesmerizing continuity to it all.

This hodgepodge of ideas, irregular pacing and abrupt transitions are oddly compelling; though it can be tough to make it to the end of the hour-long work, Elverum makes it worth it.

Sure, they sound more focused and professional on Do Not Engage, but they have done that on every album they've released.

It's an elusive and subjective notion, but it's impossible to listen to this rich, remarkable album and not be left thinking that this is the sound of Ellis coming into his own.

This seven-track effort switches things up ever so slightly; subtle twists of pace, cadence and lyrical content reveal a more introspective endeavour.

Don't Shy Away is ultimately as gratifying as it is ambitious. Brian Eno was right: Loma are the real deal.

Fresh, detailed and packed with surprises, every element of There Is No Elsewhere is carefully mixed. Their work--playfully branded "baroque-pop folktronica neo-classical something-or-other"--surprises and delights in equal measure.

Porridge Radio delight in these universal growing pains that ultimately reveal a greater vulnerability, born of not having it all figured out yet. As such, WDBLTTS is a natural next step on the road to nowhere.

Albums like Feel, Strawberry Jam and Merriweather Post Pavilion are typically considered Animal Collective's best works, yet they all lack the sustained presence of Isn't It Now? Lord only knows if it's the impact of Elevado or simply 20-odd years of musical chemistry coalescing into something new, but however it happened, Animal Collective found the now sound.

Jamie Lidell is a stunningly entertaining album and an exemplary ode to the good ol' days.

Modern Country is a conceptually ambitious, heartfelt undertaking. Some might notice the lack the unbridled colour that characterized Impossible Truth, but ultimately, it isn't enough to hinder the listener's experience.

Low-end synth tones throughout the album provide a melancholy aura that at times is given additional weight from Halstead's dreamy, wistful notes. But together, it all paints an exquisite picture; dramatic worlds that in themselves can evoke vast seas of emotion. Like the sum of life moments, memories or feelings encapsulated in songs, every element with its own purpose.

On I Thought of You, Julie Doiron defends her crown as indie rock royalty, giving listeners yet another full-band classic that equals her material with the Wooden Stars and even Eric's Trip.

For some listeners, these lyrics might strike as free association, but there's a coherent logic to be traced from one line to the next, and strong thematic ground to be established as Menuck makes an important connection between the privatized experiences of the domestic space and that of the globally conscious citizen.

By splitting his 2022 albums into two distinct projects and saving his quieter material for Entering Heaven Alive, White has delivered his best release since 2012's Blunderbuss, and one of the most consistently exciting albums in his 25-year-career.

The songs on Scheherazade are original, though richly informed by traditional Americana. Most of them sound like they could be from any time in the last 80 years.

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

With all these varied components coming together to form a cohesive unit — a family, if you will — ODESZA cleverly offer a reminder that they're making world-changing stuff, and we're lucky to be alive at the same time they're making music.

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.

This is a beautiful, concise blast that conveys this band's musical essence.

Cunningham's DJ-Kicks exclusive "Bird Matrix" probably won't fill a dance floor, but its moody detachment is, like the rest of the record, entrancing in its own right.

It's Brown's pen game and ear for production that carry the album's comedic spirit, anchored by technical and stylistic changes.

What Went Down shows Foals coming into their own and excelling at blending the styles they have explored over previous records to create a varied and textured offering that will add depth to their high-energy live shows.

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.

The irony of Kneecap's urgent political potency is that FENIAN is fun as hell.

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.

In adding back into the mix that layer of unpredictability that's served him so well, the EP adds yet enough layer of complexity to an already diverse discography--while placing a few more musical bullets in the chamber for the next world tour.

A commendable summation of the casually cool take on house and downtempo hip-hop that has defined the work of these two producers to date.

Fans of textured, cinematic soundscapes and left-field hip-hop will find Ruinism the most satisfying, but Howard's style is distinct enough that adventurous electronic music fans in general should at least check it out; it's as polished and well-realized as any of his output thus far.

The Story So Far haven't reached for anything radically new on their self-titled album, but they've created a powerful listen that stays memorable and engaging throughout.

Those beats prove to be a dynamic soundtrack for Esoteric and Deck's shameless, endlessly entertaining punch lines, which are bizarrely charming enough to leave you rooting for the bad guy.

With the world coming apart at the seams, Janet Weiss and Sam Coomes have never sounded more together, more single-minded and strong-willed. They made an album that needed to be made. Quasi went all-in on Breaking the Balls of History, and it lives up to its absolutely killer title.

Their self-titled debut LP packs a mighty wallop, matching a brutish, derisive attitude with whip-smart songwriting and compelling hooks.

With Where Does This Door Go, Hawthorne's falsetto-inflected voice has become more commanding, his production more intriguing and his indie-soul aspirations have morphed into mainstream ambitions.

This three-disc set isn't just a nostalgia-inducing reminder of Killing Joke's tremendous evolution since 1979; it also showcases the striking consistencies in the band's sound and ethos.

2017-2019 is the music we need in 2020: ambitious, fearless and provocative.

At times jovial and elsewhere solemn, Quickies is an anthology of flash fictions, thematically clashing against one another like "I've Got a Date With Jesus" and "You've Got a Friend in Beelzebub," yet otherwise twinning mischievously like "The Best Cup of Coffee In Tennessee" and "The Biggest Tits in History."

NO DREAM is punk rock that's fit for the masses without sacrificing any of its authenticity. For every catchy melody there's a brashness that says to the wrong people, "This isn't for you." But Rosenstock always makes a case for joining him in the good fight.

Following ECM's 21-disc retrospective Art Ensemble Of Chicago and Associated Ensembles, this new collection serves as a forward-looking, optimistic companion.

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.

Marked by stronger grooves, darker lyrics and catchier hooks, Touch pushes July Talk's musical vision forward without sacrificing their core elements. It's an album that should cause anyone who'd previously dismissed the band reason to reconsider their stance, while exceeding existing fans' expectations.

Heaven Is A Junkyard will make you feel its spiritual tone and tenor, a superpower that has laid dormant with Youth Lagoon, now awakened by Powers finally finding his voice."

Pure Music is Strange Ranger's most alluring and most impressive effort yet. Fans of the band's beginnings will probably remain averse to this affirmed sonic shift, but it's hard not to respect an outfit brazenly evolving by throwing everything familiar out the window and going buck wild with their vision.

A very cohesive, if slightly precious, album.

Ambient music centred on glass sounds is nothing new, of course, but the duo's ability to take such a well-worn concept and turn it into a piece so meticulous and touching is a testament to their uniquely fruitful partnership.

If you've been following the quartet since day one, Snapshot of a Beginner feels like both a victory lap and another bold step forward in the race.

Seeds strikes the perfect balance, as Madlib's thickly layered funk and soul samples and cabinet rocking beats pair with Muldrow's gloriously off-kilter vocals and free-form song structures to make this her most satisfying release to date.

Every one of these seven tracks is like a J.G. Ballard car crash--the violence is beautiful and the beauty is ferocious.

I can assure you that you will not stand still while listening to this album.

The band have put a lot of work into refining their sound and making it bigger, fuller and bolder. There's more harmony, texture and structure in every song, and the choruses are huge and uplifting.

On Black Times, Seun Kuti continues to be one of the most important voices in music, by simply reinforcing to us what we already know.

This is a fine finale to an impressive artistic achievement.

E s t a r a is a step above genre-bending; this is genre-carving.

What looks like an odd couple cover album at first glance turns out to be one of the best matched and executed collaborations of which either group have been a part.

He proves that he is a fully-fledged, multifaceted person who can do it all, and has all the makings of a modern yet ever-evolving pop star. He just remembers to have a fun, honest time while doing it.

Fans who have joined the ride at some point in the past 20 years will no doubt be delighted with the dense, stomping chapter found in Orc, though newcomers might feel like they've wandered into a story very much in progress and may be more compelled by some of the band's earlier records.

On the whole, via his work and commentary, Iggy Pop has pushed our world to think and act differently, and he brings that same mission of liberation to himself on Free.

Karaoke Angel is a beautiful surprise from Sarlé, whose career as a solo artist has only just begun.

David's voice still sounds boyish after all these years, but All Hell noticeably showcases his increased range. Call it getting older, but it makes these songs that much more dynamic.

As Shabason bends, stretches, and warps instrumentation, field recordings and interview clips alike, he's working in neo-expressionist portraiture, mining the ambiguities of the abstractions to beautiful, evocative effect.

The Window finds Ratboys deservedly taking a confident step into a space they carved out for themselves.

Instead of digging up coal like the miners grippingly depicted in these new songs, the Hardcore Troubadour and the Dukes unearth anthemic gems for America's marginalized.

While there's an overall sense of reining in and refining on Jump Rope Gazers that keeps it from reaching the giddiest heights of its predecessor, the band sounds just as good in this mode as the other, just a little different.

Despite the band's downsizing, TFCF demonstrates that Andrew has always been the beating heart of Liars. This time, the unexpected was hearing him bare his without any uncertainty.

Unlike many B-side collections, much of E•MO•TION: Side B has single potential to the point where it's crazy that high-energy synth-pop gems like "First Time," "Higher" and "Body Language" were left off of E•MO•TION for mid-tempo bonus cuts like "Black Heart."

Sasami is a gifted writer who is careful to develop arrangements that heighten the emotions of her songs. Listeners will relish the detail poured into her debut, its polish not too shiny to obscure the raw experiences that its songs are drawn from.

It's a spiritually holistic, potent dose of manna fit to feed a weathered movement.

A detailed effort worth unfolding that reveals more each time.

Lesser Evil proves that Doldrums can roam without fear of getting lost.

Too many bearded men in isolation have sapped such joy from the genre, but Here brings it back in full.

Jasssbusters' steady output of blue-tinted melodies make it an exceedingly easy listening experience.

Whether or not Give Me My Flowers lives up to expectations as a proper sequel may be of some debate, but this album in its finished state definitely impresses.

Pull My Hair Back still shines with nonsensical warmth that is just as much sensual as strange. Kathy Lee would be proud.

There will be some very painful moments where you'll be forced to end the song half way through, only to start from the beginning later. That said, if you're in a comfy spot and don't plan on going anywhere, alter your state and listen to this record from beginning to end; it will take you places.

Age Of is both a sonic treat, and potentially a precursor to how the future of pop music may sound. Fortunately, we need not imagine, because Daniel Lopatin is already there.

Infinite Dissolution is full of haunted love songs between a fallen city and the ghosts that inhabit it; it fills a void that I never knew existed until this unsettling, aching sound poured in.

The album is at its best when the Highwomen subvert country tropes.

It's an album that never repeats itself, offering up a work that plays out more like a multi-chaptered book than some simple '80s homage that's jumped the shark.

There's no question Hero Brother is a tremendously accomplished series of recordings that hold together as a whole, but one also gets the sense of being at the beginning of a journey that could get better as the years go by.

Repeated listens reveal a deeply nuanced record that deals with grief and confusion the only way Robyn knows how--by dancing like nobody's looking.

Though it features no straightforward pop songs, MGMT finds VanWyngarden and Goldwasser having a great deal of fun creating exactly the kind of eclectic, weird music they want to.

File the album in your new classical section, primarily because of Simon's world-class technique. But given the instrumentation, it could just as easily be marketed as an ambient or jazz album. It would be no less great a success.

Overall, this is YOB in their purest form. No tricks, no gimmicks, and of course, no bullshit. YOB is comfortable in their own skin, and making their most honest music to date with Our Raw Heart.

Though Frost skilfully balanced the heaviness with some breathing room on A U R O R A, his work with Albini seems to have let in just a little more light and colour, enough to both surprise and enchant.

Words and Music further demonstrates this while helping us realize just how lucky we are to still have them around.

Though still world-weary as ever, Del Rey is, on Blue Banisters, for the first time diaristic and ad hoc. This album is a stunner.

Age has only made the Hives sound tighter, giving them time to master an electrifying energy that few others harness.

Silver Cloud delves deeper into the internal, headphone experience than even R.I.P. and it's easily Actress's best release since Splazsh.

The theme of being a descendent in a musical sense is extended to Rashad's familial reality on Cilvia Demo, delivering some of the EP's strongest moments.

Originating as instrumental studio sketches, Kember's change in scenery gave birth to lyrics that add substance to the LP.

The album's 11 tracks are anthemic, rhythmically driven, and infectious, perfectly blending industrial and electronic elements with hard rock and heavy metal in a distinctly unique way.

GLADYB doesn't really deviate from the path that was laid down by previous albums Lucky Shiner and Half of Where You Live, but--perhaps even more impressively--it stays decidedly on it, rounding out a beautiful trilogy of semi-danceable, definitely nod-able records. It may even be his best.

The depth and creativity the producer has employed make this album stand out as an example of ambient music at its most compelling.

Bitchitronics is as gangsta as ambient music can get.

On Brill Bruisers, the band's glory days have returned.

Northern Shore explores terrain that's simultaneously familiar and bracingly fresh; it's a gem.

Song for Our Daughter is a touching recording, and it demonstrates that, no matter the sonic style she chooses to play with, Marling remains at the top of her game.