Didn't He Ramble shimmers, saunters and charms; Hansard has never sounded so good.

There are few out there above what he has achieved with Lonerism.

This is one of the most rewarding and beautiful albums of the year.

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.

Colorado makes good on Young's promise that rust never sleeps — turns out, it gets better with age.

Equal parts pensive and dreamy, minimal yet expansive, Phonetics On and On is the unapologetic sound of confident experimenting, the product of three musicians years ahead of their respective ages. Horsegirl rule, and so does this record. Put it on and on (and on and on and on).

With minimalist lyrics, easy-going beats and subdued horns, Ford's songwriting and voice shine through, tempting to you to press the repeat button.

Eclectic, soulful and refreshing, Cool Uncle is a must-hear.

On their third album since Andrew Neufeld moved to vocals, Comeback Kid were poised to strike out, but pleasantly, they instead knock Die Knowing out of the park.

With Springtime in New York, Dylan and his archive custodians take on his most written-off period and re-write it, capturing its lost glory.

This record's varied influences are held together by the mastery of both D'Agostino's songwriting and Congleton's production. It's unpredictable but immensely rewarding.

She stated that the album's title refers to the laurel bushes that grow in the Southern Appalachians in the US, where they're just as beautiful as they are isolated. She shows us these qualities of beauty and isolation are often two sides of the same coin, and can be married to uncover the intricate corners of a person's full truth.

Lauv has definitely established his own niche. Maybe it's only a matter of time before he becomes one of pop's biggest acts, but for now, ~how i'm feeling~ confirms that he's doing fine looking in from the out

"Waterproof Mascara" is surely one of the most harrowing rap tracks in recent memory. .... Full of horror and self-described Afro-pessimism, GOLLIWOG is frequently grim. And yet, it's not a difficult listen, since woods is simply too clever of a writer for him not to tickle my sense of humour.

Freetown Sound finds Hynes at the peak of his powers, mixing his best songwriting and production yet to powerful, purposeful effect.

On Epoch, Hansen, Brown and O'Connor are in the prime of their careers.

Simulcast is a shining and beautifully crafted album that reaffirms Hansen's hold atop of 21st century ambient electronic.

This Is Why is undoubtedly Paramore's strongest work. At only ten songs and a 36 minute runtime, they left little room for error and made not one mistake.

Cape God does such justice to the patented Allie X sound, refining and mastering it to the extent that it makes all that came before it feel like a proof-of-concept for this project. Pulsing keyboards clashing against string instruments and met with intoxicating vocals, Cape God sees Allie X reach her final form.

From the prog-rock storm cloud of "Back to Rock," to the metallic disco stomp of "Worst Comes to Worst" and "C'est parce que j'm'en fous" or the slate grey dissonance of "Lead Sister," the record is a delirious reconfiguring of '70s and '80s pop textures.

It's a reclamation of a history that often doesn't tells stories about black cowboys or black musical innovations. However, it is a recollection of what inspires Solange, and more importantly, how she wants to inspire the next generation from Houston.

This is the kind of music that, in 20 years, we may look back on as a pivotal point in changing the trajectory of the pop music sound.

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

Young rappers take notice: you want to sound like this when you get older.

All in all, the brilliance of West End Girl lies in its lack of pretension, and the fact that its room feels mostly cleared of committee.

This record is crawling with too many hooks and good-time jams to quibble over guitar tone.

The shifting, irregular momentum on Render Another Ugly Method is bold and rewarding, with many surprises.

While various artists-type vehicles do tend to feel disjointed in spots — this one included— the versatility and energy of the Free Nationals is bolstered by their upper tier level of craft, something a lot of backing bands rarely receive credit for. With that in mind, this self-titled outing is a treat.