Back with arguably more certified bangers than before, clipping. throws caution to the wind with soul-rending sonics and elite-tier rapping. At the very least, Visions doubles the likelihood of a hapless Disney+ user following Diggs from Hamilton to a horrorcore masterclass.

Restarter is remarkably composed and perfectly balanced, demonstrating Torche's ability to continually refine their doom-pop/melodic hard rock approach.

Tasteful inclusions of every kind, powerful melodies and dense, wry lyrics make Tim Melina Theo Bobby an unmissable conclusion for fans of Midwest emo, electronic rock, and strong songwriting.

On Anoyo, Tim Hecker stretches out his heady winning streak for another 32 striking and captivating minutes.

It all adds up to a cycle that is as complex as it is direct at times, describing the imbalances between moments of lucidity and desire, and what is lost or gained when one declares "let's get out of the romance."

It's mostly a cheery, upbeat listen — although Murdoch still sounds best in melancholy mode, something he proves with on the synth-anchored "We We Were Very Young." ... B&S only miss when they leave their comfort zone.

It does occasionally err too heavily towards swaying ballad tropes, but importantly Blake never hides his feelings through allegory or metaphor, nor does he mangle his vocal delivery with electronic trickery.

Skelethon is funky, freaky and heavy on the drums.

More nuanced and compelling than the Watts native's underrated debut, 2011's Follow Me Home, Jay Rock's zip code-titled effort should be copped for the first Black Hippy posse cut since 2012 alone.

Her identity is permanently stamped on As Above, So Below — the album both showcases Sampa's growth as an artist and delivers on fan expectation, taking them on a journey beyond bars into Africa's rich musical heritage.

From the brash, banging tracks all the way to the idyllic soft touches, Beautiful Rewind is captivating and completely refreshing to hear.

The resulting 12 tracks find Freeman both revelling in and lost within this musical yin and yang.

Granted, the guitar and sax rocker "Sed Knife" stands out for the wrong reasons — it's maybe a little too clean and straightforward given the context--but after years of flirting with the fringes, Half Free hits the art-pop bullseye.

Shame is not only hard to listen to, but also hard to swallow and hard to digest. It thought-provoking music which is guaranteed to make listeners feel uncomfortable in their own skin; what more could you want from a new Uniform album?

A lot of Aphex EPs are marred by fairly forgettable tracks (who's blasting "Nannou" in 2023?), but this latest one is solid tungsten all the way through.

Though not without its standout moments, Rabbit Rabbit can sometimes feel a bit too stuck in its comfort zone to convert new listeners. Having said that, the band's snarling, no-nonsense demeanour — not to mention Dupuis being unafraid to tackle heavy topics like childhood trauma and violence — often makes up for the relative lack of sonic diversity.

Although the band clearly wears its assorted influences proudly on their collective sleeve, this diverse approach can sometimes hinder progress, resulting in some songs that are vibrant, complex and uniquely Cola, while relegating others to the derivative badlands.

It's evident that the two were having a good time recording Hokey Fright, and though the album isn't always successful, it's encouraging to see creative individuals ignore genre boundaries in order to bridge gaps.

There are few artists who are as artistically uncompromising, and while EarthEE may not garner the duo many new fans, its quality will ensure it outlives the kind of transient hype they might have shot for.

Universal Themes is still overwhelmingly heart-on-sleeve, human; if it's not universal in the specifics, then it is in the way it rawly depicts experience.

Orchestra Baobab have truly mellowed with age--those expecting a rawer and urgent take on West African rhythms may come away disappointed--but Tribute to Ndiouga Dieng is a triumphant spin on their classic style.

While I Love the New Sky would have been a near-perfect nine-track LP, it's a rare treat that Tim Burgess can give fans something so inspired and inspiring this deep into his career.

Lapalux has found his home at Brainfeeder, with Nostalchic and its masterful genre crossings a fitting first release.

The understated maturity of the 24-year-old Hozier on his debut album is a beacon for young writers learning to craft significant compositions.

Grim Town is a concept in itself: it is a fictitious location, an embodiment of feeling that has been brought to life by the sentiment and memory that revolve around it. Through it, SOAK is able to explore emotion and turn it into something tangible.

After being out of the spotlight for years, Marshall hasn't lost her style. Producing Wanderer entirely on her own, you get the sense that she has ventured into new territory. Artists like Cat Power have all been wanderers at some point, but she is the one in control here.

925 is a cohesive, enjoyable, drug-infused debut about two longtime friends trying to make sense of being young in a dreary world. Despite a few hiccups, the record is a moody and exciting treat by an act to keep your eyes and ears on.

Stories from a Rock n Roll Heart is brash, loud, triumphant, and quintessentially Williams — her perseverance in the face of adversity is truly inspiring, and these stories are tales to live by.