This young Australian singer-songwriter made a real mark with her 2016 debut, Don't Let The Kids Win, and subsequent international touring, and this compelling album sets the bar higher.

In the end, Everything Hits at Once may not be the most necessary thing. But, like most of Spoon's material, it is a well-crafted, admirable work — a pleasurable end unto itself.

Welch's powerful vocals shine on this record through anthemic synthpop, baroque pop and folk balladry, as the band experiment with new textures, aligning with the inspiration drawn from the Pre-Raphaelite tradition of embracing contrast within art.

If you like Soilwork, this is the album you've been waiting over a decade for.

Beautiful Thugger Girls--which lists Drake as executive producer--pushes the boundaries of Atlanta hip-hop while adding yet another groundbreaking project to the trapper's discography.

From powerful riffs to heartbreaking melodies, Down IV – Part II is yet another example of Down's flawless work.

Bullion makes the weird wonderful on Loop The Loop, painting streaks of heartbreak and sadness onto a bubbly, almost animated canvas that evokes as much as it mystifies.

Starmaker is a world unbound by time and gravity, a fantasy borne of solar winds. If this is where country music is headed, we should all be so lucky to be invited along for the journey.

Despite the abundance of compositional ideas, they are all executed with attention to clarity, cohesion and detail. Thackray's auteurist approach in the studio combined with her peerless precision and control feel like a whole new genre unto itself.

This is a new, astronomically high benchmark in a catalogue comprised of fantastic bodies of work — and a rare moment where you can feel a generational artist at the height of their powers in real time.

The propulsive spark that lit their debut lingers, keeping the record from drifting off into malaise.

Even though Post Self isn't exactly what was expected, it's a masterful release from two musicians who seem to be incapable of creating anything short of exquisite.

Little Oblivions is generous and giving; it's not only a public display of personal catharsis, but also an act of collective commiseration and an invitation to heal.

Auditory annihilation never sounded so good.

Nine pieces that come off even more inventive than the present company suggests.

Even the bangers on Brandon Banks are thoughtful. ... All that thematic ambition, along with the minimalist yet catchy instrumentals and Kream's unfussy, but deceptively thoughtful lyrics, make Brandon Banks the breakout debut of the summer.

He remains one of the few songwriters who can capture the indelible marks we leave on one another ("Good While It Lasted") with impressive verisimilitude, plumbing the depths of human emotion in a mere quatrain. Even at his most didactic ("Don't Be Tough"), he comes across as an old friend gently leading the way.

This is but another stroke of genius in a career full of them.

For a band as hardboiled as Arab Strap, As Days Get Dark is nonetheless a love letter to the brave, ambitious nature the band has built their audience upon. The swings are bigger, the misses are broader, the hits are even more rewarding — for Arab Strap, there's no other reasonable way to approach it.

Jeff Tweedy clearly spent more time than usual talking to himself of late, and the expressive results are strong. His memory went jogging and kicked up enough dust that he had to put it down on paper and on tape, and it all feels like the most direct pathway into his complex psyche that he's ever offered.

The more I listen to it, the more that Infinity of Now sounds like the album I wish Portishead would finally get around to making. Given how much the Heliocentrics continue to advance with each album, it's possible the general public may end up forgetting Portishead entirely. They may not be pioneering a movement, but the Heliocentrics do something no one else can, and it is worthy of the loftiest praise.

While White Jesus Black Problems is certainly an album that prompts further discovery of its deeper layers, it is also liberating in its musical profundity.

A modest five-song EP, from its pared-down arrangements to its monochromatic album cover, Silent Hour/Golden Mile is a surprisingly cohesive release that begs for repeat spins.

Manically happy, infectiously danceable and too clever by half, if 1991 does one thing, it proves that Banks's breakout hit, "212," was no fluke.

These songs feel ripped from sets you'll most likely never see, as the technical skill of Villalobos conspicuously reminds the listener of the less boring record it could have been.

A little more variety certainly would flesh out the band's releases, but as it stands these 15 songs fit together nicely, giving the impression of one deliriously long writing session.

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

With Chaos for the Fly, Grian Chatten has proven that he's not only worth his salt for leading one of the biggest UK bands in the world right now, but that he has the erudition to create fantastic music without his Fontaine D.C. mates.