A seething but persevering energy flows intensely CACTI.

It's a successful return for Ms. Jackson, a grown-ass album that refuses either to pander or wallow in nostalgia.

Overall, From Capelton Hill is a brilliant reminder that it's totally fine to rely on your strengths and build on them to produce beautiful music without having to constantly reach for new tricks.

In roughly 26 hypnotic minutes, Eternal Turn of the Wheel creates a swirling vortex of eerie imagery, like dark earth spirits rising and taking possession of musical tech, infiltrating the modern world.

On its own, this album is a solid addition to an impressive back catalogue, but the fact that it's part of a triple-run of releases only adds weight to it.

Deceiver of the Gods gives us everything we expect from the band, along with a little old-fashioned metal revitalization.

Whatever Scott has gone through on an emotional level, Woman finds her at a life stage where she seemingly maintains a balance between optimism and pragmatism, a worldly perspective that informs one of her strongest full-length efforts in a minute.

A Loud Bash of Teenage Feelings might not be an earth-shattering departure from last year's full-length debut The Things We Do to Find People Who Feel Like Us, but it's a loud and beautifully fun ode to young outsiders falling in love, getting fucked up and revelling in their weirdness--and that's advice as good as any.

Two-and-a-half-hour compilation Tunes 2011-2019 works its way backwards through the last decade of Burial's output, but like many of the producer's post-Untrue undertakings, it generally resists neat and tidy execution.

With a runtime that clocks in at just under 40 minutes and very little banter found in between tracks, Fever 121614 doubles as a great starting point into Deerhoof's extensive back catalogue and a showcase of the band's live strengths, all in one thrilling listen.

The Iceberg ultimately delivers a rich yet digestible musical main course worth more than one helping. If you've been sleeping on Odd, it's time to wake up.

Cohesive and eclectic, Ancestral Recall is a sonic expedition to remember.

Hearing these two famously unrestricted musicians distil their maximalist instrument vernaculars to primal fits of abstract brutality makes Full Bleed is a fascinatingly insightful record.

With Afraid of Heights, Williams has achieved a rare type of punk rock maximalism, crafting a massive, buzzy record on his terms.

III is a record that fluctuates between the joyous and the melancholy over and over, making those many contrasts of dark and light all the more impactful.

Before the World Was Big hears Girlpool unapologetically channelling some big feelings in a way that sounds brash without being bratty, and emotional but not without an empowering message.

These songs are infectious enough that they ought to catch just about anyone's ear.

Belong is a welcome addition to Jay Som's discography, and will undoubtedly solidify her reputation as your favourite pop singer's favourite pop singer.

The songwriting is more refined and consistent yet subtly surprising, and the production is smooth yet punchy.

Souled Out is an intriguing record from an intriguing artist who has tapped into the zeitgeist and delivered something that is both reflective and forward-looking.

With her sharp pen and a deft balance of traditional and modern sounds, Middle of Nowhere is a reminder of why Musgraves is a lone star of her calibre.

Paint My Bedroom Black is a shiny and haunted — but unwaveringly hopeful— collection that sees her carve out her own kohl-liner rimmed space in the modern pop pantheon.

It's a cerebral style that takes a certain willingness to go along with, but if you do you'll come away with an enhanced notion of what contemporary techno has to offer.

It's a slow album, but through multiple listens, we're treated to the same complexities, but personal and musical, that have made him such a fascinating figure throughout the past decade.

Ghostface's usual penchant for free-associative wordplay is a bit hemmed in by the structure, but he gets plenty of help to ensure the storytelling remains compelling.

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.

Love Me is a gorgeous album, through and through.

Delete the rest of the interludes and you'll have a worthy sequel to Deltron's debut.