If there's one thing that Aa demonstrates in spades, it's growth. The record not only shows a wide array of styles, but lays a solid foundation for Baauer to build on in the future.

The end result is likely the most dynamic and entertaining Jicks record thus far. You can hear Malkmus's love of classic and kraut rock in these crafty arrangements, which each get to a place where they truly shine. Hard.

It's these frenzied, sharp-turn transitions are what make this band feel so vital, so alive and so different.

Pratt's succinct lines can spill out so naturally and conversationally it's hard to believe someone wrote them, except that she messes with the syntax a little, too.

Juxtaposing the escape provided by club culture's immediacy with the harsh realities confronted in the lab, Significant Changes sets a reality check to something danceable, but its success is wholly reliant on Jayda G's balanced presentation and steadfast commitment to both missions, tonal shifts like "Orca's Reprise" providing chill-out wind-downs for the party while the club anthems provide some sorely needed release.

On their new full-length, much-anticipated Epitaph debut On The Impossible Past, they exceed expectations once again.

There isn't a bad track here, and from the sound of Ibibio Sound Machine, it appears that Soundway is intent on delivering new music every bit as distinguished as its esteemed reissues.

She experiments with more melodic sounds, but has kept her roots too, such as her heavy flows and funky productions that are perfect for the club.

Desire, I Want to Turn Into You feels like the arrival of Caroline Polachek, a statement of intent that finally lassos her myriad musical ambitions into something singular.

Vital, vibrant, and necessary, Luciferian Towers is a stunning addition to Godspeed's storied catalogue.

The quality of musicianship, lyrical content and melodies on What You See Is What You Get marks one of the top calibre country albums of the decade.

If "bloody," "urgent," "enraged" and "heartening" were enough description to sum up El-P and Killer Mike's latest Run the Jewels album, this review could end here. But they aren't; this late 2016 LP, along with the duo's various collaborative tracks with several DJs and rappers all year, have officially placed RTJ high on the shelf of the "hard to describe" category.

Her smooth, rich voice dances gracefully over the rougher guitar riffs and drums found all over No Burden, her extremely confident first full-length.

The former enfant terribles seem to have arrived at their final destination and sound more assured than ever before with Seek Shelter — a stunning achievement that will restore even the most lapsed practitioner's faith in rock music.

In Another Life is a glorious return for Perri, an album that sits just outside of pop music. Any minor idiosyncrasies are downplayed by just how gorgeous and listenable these songs truly are.

Bilal describes creating A Love Surreal as a surrealistic exploration of love and, indeed, he delivers on this end.

Nothing is off limits, and their chemistry on wax continues to be just as powerful as it is in real life. It's not only a top-to-bottom banger, but it's also relationship goals.

Yes, most of us listeners won't understand the Nigerian Ibibio language lyrics that she assuredly bellows and purrs on grooving songs like "Nyak Mien," or "Kuka." But Williams' masterful delivery, not to mention the band's deft playing, more than get the point across throughout this fantastic album.

It's not that Sneaks' music doesn't take itself seriously, but each song is so well-crafted that it lacks the self-consciousness that could weigh a project like Highway Hypnosis down.

These tracks and more prove the octogenarian has as much grit and vigour as country stars a fraction of his age. Indeed, Nelson performs so deftly on Ride Me Back Home that you'll feel the urge to ask this aged outlaw to hop back in the saddle for yet another spryly exciting ride.

Throughout, D'Agostino's words are intricate and so tangled in detail that the stories are obscured; it's more like flipping through a photo album without footnotes — you're not told the story, but you feel the impression it leaves on you.

The unlisted, sludge metal instrumental with crashing, crushing, demo-quality production only adds to the overall awesomeness and crazed attitude behind it all.

It's a rare record that serves as an entry point for newcomers while rewarding old fans who've stuck by them since the beginning.

By not only fearlessly facing grief, but also honouring Justin's sly humor, raw vulnerability and nimble songwriting, Steve Earle fittingly sees his young Cowboy off into the sunset.

Over the course of 11 impeccable tracks, Amos delivers eerily infectious singer-songwriter fare on par with the intelligent and emotionally raw efforts of Nina Nastasia and Sun Kil Moon, but that's polished with studio savvy worthy of Califone or even mid-period Modest Mouse.

Everything works here, in its own unique way.

The EP's mix of the myriad styles presented (drone-influenced electronica, dancehall, progressive synths) come together in a way that makes the experience feel unique.

Not a single cut on Oh My God feels out of place. Each song is effulgent in its composition and intention.