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.