One of the very few bands that can combine melody with hardcore and make it pack a huge punch, BoySetsFire have crafted another excellent release.

Unlike the conceptual rock opera project that was Nostradamus, Redeemer of Souls is pure metal joy, full of surging anthems, martial stomps, unbridled passion and huge, crunchy production values.

93696 is an ongoing, turbulent act of engagement — its surging power will throttle you, blow you over with fury and ecstasy. But it will also pull you in for an embrace, to quell and allow for the chance to breathe and reflect.

By opening up their sonic palette, Third Eye Blind has highlighted their sheer strength as a songwriting unit and demonstrated that any path they take, they'll throw themselves into fully and unreservedly. Sounding both fresh and classic, Screamer is a great place for new fans to jump on, or for previously jaded listeners to give one of rock's most underrated groups a fresh shot.

Empress Of takes listeners into a rich sonic environment on Us, while placing careful emphasis on the emotional territory she ventures into. The universality Rodriguez has sought to embody the record with is present, yet the vulnerability she is known for remains.

Doubtless, the boy from Troy, NY has given his audience a lot to chew on with Madman; some of it folk, some of it rock, all of it good.

The London Sessions has a swanky premise, and finds Blige in an artistically intrepid mode. It's also one of her best efforts in recent years.

The Revenant OST is the duo’s fifth collaboration and moves like a symphonic version of their minimalist album Vrioon. To an already austere approach, Sakamoto seems to have added the resolve of a true survivor.

Exquisitely recorded (Segall might have picked up a few more tricks for his already considerable bag from Steve Albini, who had produced recent efforts) and inviting while still being mysterious, Ty Segall has another excellent stripped-down "folk" record to add to his (extremely) extensive discography.

It's the samples in particular, though, that give Reset a sort of whimsical timelessness. ... Like much of Panda Bear and Sonic Boom's best work, Reset is disorienting — an album of songs that feels cyclical and never-ending.

It's a dynamic album, one so vibrant that listeners can easily envision themselves at the Barbican witnessing all the musicians mesh in the creation of something grand.

Smart, funny, empathetic and wise, Musgraves is one of the best in the business right now--even when it seems she might be treading water.

Smart, forceful writing continues throughout as Benny's deliberate delivery slices through the horns of "Throwy's Revenge" and the frenetic synths of "Guerrero." Usual suspects Boldy James, Conway the Machine, 38 Spesh and Westside Gunn drop by, adding welcome vocal texture to Benny's predictably clear and metronome-like cadence.

Spaces is in turn haunting, energizing and overwhelmingly emotive, and a must-have for fans of the young German pianist, whether or not they've caught him live yet.

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.

While it might be daunting to have close to 20 duets of mixed genres all on one album, it works for Crow and her crew. These collaborations show flair and offer a little bit of something for everyone, making Threads that much more appealing.

Those who actually contemplate this album and its live counterpart on their artistic merits might well recognize them, as equal to anything else in his stirring, outspoken back catalogue.

Had the album dropped in May, it could have complemented the season beautifully. Now, it'll have to settle for cushioning the winter months with its unabashed, bubbly vibes.

Saputjiji is not an easy listen; at times, it's downright ugly. But as the empire's war machine kicks back into high gear, Tagaq's courageous offering is a much-needed wake-up call.

Disarming listeners with a palette of sounds that merge laidback rock landscapes with grungy grit, Madeline Link's lyrics are jagged and abrupt, with abstract lines fused together by vividly visceral imagery. Deciphering deeper meanings may prove difficult (particularly as filtered through her languid drawl), but the endlessly listenable, breezy rock tunes encourage plenty of exploration, and any efforts will be handsomely rewarded.

From start to finish, GREY Area reveals a young rapper who has seen success in her career, but is still sorting herself out in her real life.

The album is emotionally mature beyond his years, and like 1999, it is a gateway to hip-hop sounds of the past while looking to the future, making for a project that shouldn't be skipped this year.

With a sound as good as this, it's clear Xerxes aren't simply riding the wave, but making some of their own.

Though it's no surprise that Cole's consciousness leads the album, his unabashed statements regarding the direction of rap music and its current megastars are gutsy.

[Percussionist Joshua Van Tassel] and master bassist Bret Higgins give all these songs organic, unfussy rhythms that dig in like the deepest of tree roots and guide this Forest of Arms.

Starter Home is a mostly quiet album despite its many players.

The slow roll-out of singles over the past few months leading up to its release makes Product hard to consider as a singular cohesive package, but as a primer on SOPHIE, it's as good as it gets, a snapshot of an exciting artist whose tightrope walk between sweet and scary, pop and avant-garde, has yielded some of the best singles of the past few years.