Though the tail end of the LP drags thanks to throwaway dirges like "Justice" and "Sometimes," Love Will Be Reborn is nonetheless as surprisingly and pleasingly intimate and stripped down of an album you're going to hear from someone as naturally theatrical as Martha Wainwright.

Though its creation process was an overarching performative event in itself, Ye still managed to (for the most part) control his narrative, and deliver his best body of work in recent memory. It's just hard not to think that some trimming and sequencing tweaks could have made this LP that much greater and his message that much more poignant.

The classic heavy metal and surf rock elements that made their debut so appealing are intact, with some additional psychedelia and more driving, intense guitar riffs.

While the album understandably contains some filler within its bottom third, POWER UP nonetheless falls securely within AC/DC's great B-level albums; just as solid and memorable as Let There Be Rock or For Those About to Rock (We Salute You).

For fans of nu metal and heavy riffs, Requiem will not disappoint, but it lacks the sadness that Korn have long tapped into to differentiate themselves from the pack.

Petrol mixes ambient and free jazz with satisfyingly cohesive results.

There is an invigorating energy that shines through the lyrics and tempo of this album, so although lyrics about the finer things of California living aren't necessarily profound or entirely relatable, on Man About Town, Hawthorne's buoyant optimism for beginning anew in 2016 is utterly contagious.

While it loses some of her past work’s joyous electricity, it reveals something truer. This is Whack’s world after all, we’re just lucky enough to live in it.

With Cloud Room, Glass Room, Pan American's original recipe feels slightly new–and-improved.

A Khruangbin dub record isn't particularly Earth-shattering, especially when dub was already so present in their music. But it's an opportunity for the band to really show off their strengths and further establish what makes them unique.

Science Fiction is a flawed yet beguiling record that keeps you hooked without offering the emotional payoff that we've come to expect.

Despite any nitpicky issues one may find with In the Morse Code of Brake Lights, it's refreshing to see the New Pornographers, 20 years into their existence, still trying to swing for the fences.

Given the breadth of Hood's output and influence, hardcore fans may have wanted a more encompassing and historical selection but there's enough here to satisfy both newcomers and devotees.

With all the memories, both good and bad, unearthed on this album, Best Blues finds Small Black holding their composure, even when it seems like it'll be a total bummer.

Off the Record may be dated in some respects, but it still sounds like it's aimed at the future.

The result is a most welcome and simply terrific record from a perennially underrated band.

The record’s more direct first half may appeal to those who want their old school IDLES fix, but repeated listens to its rangier second half reveal an emotional complexity and sonic cohesion that have long escaped the band. Suddenly, there’s reason to be excited about where IDLES are headed.

Double Negative asks much of listeners, but what you get in return is positive to say the least.

With Over It, the Atlanta singer-songwriter is on point with a debut that's ultimately a contemplation on sexual politics and emotional availability.

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

They aren't reinventing the wheel at this point in their career, but as young artists with explosive, disillusioned and wrathful emotions for the world and social conventions around them, there isn't a rock band more suited to the times.

Each song is theatrically arranged with Craft belting like a Broadway star and the large band supporting his every word. The ebbs and flows become slightly predictable near the end of the album, but Craft does a terrific job of performing the songs, emoting and propelling his tales with vigour.

There's nothing truly radical about the collection, but it is gratifying riff-based rock, and in an industry littered with sycophants, Starcrawler's brand of exuberant noise is refreshing. The future may be bright for these young guns.

There's a pastoral feel to the album — the band recorded it all in an epic ten day session at a studio in the Welsh countryside, and you can hear that region's influence in everything here. It sounds wide open and unencumbered, full but never cluttered or dense.

As a solo debut, Lysandre is a self-indulgent effort that succeeds in spite of itself; it also signals an artist shaking off the shackles of the past and embracing a wider range of sounds and ideas.

Brood Ma's vision of the future may be dark, but on the challenging, rewarding DAZE, his future as a purveyor of its soundtrack is all but secured.

You could call Butterfly 3000 the least King Gizzard album of their career — there is next-to-no distortion or guitar riff theatrics. Nevertheless, it's a refreshing departure from the psychedelic garage records the band has released in the past few years.

Here they are with the emotionally eloquent Spin, rejuvenated and sounding just as good as a duo as they ever did as a quintet.