By separating his musical personalities into two neat piles, Deacon stopped short of creating a truly epic record. We'll have to settle for just a pretty great one instead.

Fearless (Taylor's Version) introduces her younger audience to an iconic set of songs and feels like pure nostalgia for her older audience. This re-release signifies the beginning of Swift doing things her way, taking full control of her music and sharing it with fans who are eager to listen.

The drums are unquestionably positioned as the star and as a result, Harmonic feels much more like a jam session crossed with a vanity project than a genuine album.

The result is a sonically coherent, and impressive, album that dances on the borders of multiple subgenres without ever really taking a full dive into any one.

For the most part, Home on Native Land is filled with Gibb's signature breaths of melodic fresh air, healthy for a Canadian folk scene that could use some idiosyncrasy and a dark sense of humour, even if Gibb is only a passing visitor.

All Together Now is a surprisingly and satisfyingly listenable collection of compositions that weren't necessarily recorded for this type of public consumption.

While the soundtrack shows how versatile and nimble singer Jade Vincent is, she seems more stagnant on Heartbreak. That's not to say that Vincent flattens out completely. On "Heartbreak," she is in full retro-pop mode, and by the closing track "If," her voice melts into a lovely, lilting little lullaby.

Mirrored Aztec is also more tight and clean than February's Surrender Your Poppy Field – that Pollard still has this many hooks in him is mystifying.

With Toral's help, rousay has presented a musical vision that is newly inviting while retaining all of the elements that have made her music so special

Despite complex construction that in the wrong hands can drain music of potency and impact, Malone, Railton and O'Malley sculpt otherworldly soundscapes and craft microtonal realms worth return expeditions, where timbres and harmonics flicker, ripple, scrape and hum — always converging and diverging, Does Spring Hide Its Joy is a beacon of possibility.

Sure, there are slight variations on the formula and some additional instrumentation (namely strings and harpsichord), but this is still Thee Oh Sees being the very best Thee Oh Sees they can be.

On Oh No, Jessy Lanza reveals a range of new emotions, influences and styles, further establishing a distinctive sound that blurs the lines even more between pop and club music.

Hamilton + Rostam synthesizes two distinct musicians for a sound that's ultimately greater than the sum of its parts.

At just an hour in length, Immunity savours every moment, pulling on your heartstrings, lifting you off your feet and inviting you right back for more.

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

Die-hard Windhand fans won't be disappointed by Grief's Infernal Flower, and new fans mind find it serves nicely as a jumping off point to get more familiar with the group's material. Either way, it's an excellent addition to a record collection for doom fans everywhere.

On Salad Days it becomes a lot clearer. He's honed his skills to write wonderfully weird, often gentle pop songs.

Much of what Duterte has accomplished on Anak Ko reflects the balancing act depicted in its album artwork: songs that weave together contributions from a range of players, carried by Duterte's singular vision.

Radical Romantics is as joyfully alive with sound as anything that Dreijer has created in their three decades of music making.

Thug really makes the most out of the seven notes he has. It's impossible to hear him get all guttural on "Harambe" and not feel it in your stomach.

Much of The Lookout is subtly fraught.

Awe-inspiring and unforgettable.

WILLOW's pointed vision and eagerness to push the envelope allowed her and Greatti to construct songs that consistently take unexpected turns yet culminate in her most cohesive project to date.

Wide Awake! is a letter-perfect musical contemplation of modern times, where social uprisings are actually affecting positive change. It's urgent and potent music that's thought-provoking and danceable, and whose rage is measured by a pointed optimism.

It's the discomfort, the restlessness, and inability to settle that makes Anxiety's Kiss hang together, and while it's a hard way to think and live, Coliseum do it exceptionally well.

Don't Shy Away is ultimately as gratifying as it is ambitious. Brian Eno was right: Loma are the real deal.

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.

A little more understated than her recent collaborations with Jeff Tweedy, who similarly wrote songs and produced them for Staples, We Get By is still a gem and Mavis Staples and Ben Harper clearly hit upon something special in working together.