Though not every song on this overlong album is a winner--if the band has a weakness, it's in crafting enduring melodies--the bright, instinctive performances more than carry the thinner material.

With Promise Everything, Basement have returned stronger than ever, and have taken great care to capitalize on the most effective aspects of their previous sounds to make a dynamic and cohesive whole here.

Unsurprisingly, the tracks that feature Redway's voice chopped and sampled and without straight lyrics, "Beseech" and "Extract," are the most satisfying ones on the album. These two tracks point to the duo's real potential.

Where the original Something About April was a show a prove lesson in sample creation, part II is a dirt-off-the-shoulder proclamation of songcraft.

Too often, they rely on imitation of their influences, rather than pushing the genre forward in a compelling way.

Traveller isn't just an exercise in classic country revivalism; like Sturgill Simpson before him (with whom he shares a producer in Dave Cobb), Stapleton has taken the old tools and crafted something that feels as new as tomorrow morning.

It's heady stuff to dive into, and Williams isn't particularly concerned whether listeners sink or swim, so long as they get wet.

Some of the tracks, like the first few ballads, feel a tad exhausted and perhaps a little clichéd, but that's the nature of Sia's universal, inclusive pop music, and on This is Acting, she approaches it in an intriguing way and performs it with gusto.

Don't You puts up a strong front that should connect with fans of all those aforementioned artists, but Wet's debut only connects with contemporary R&B, never pushing it forward.

Just as deep and cosmic in scope as its predecessor, this album eschews traditional beats in favour of a primordial throb, a rhythm that seems to originate deep within the planet's core.

With subtle rhythms and interesting melodies, In The Magic Hour delivers both lightness and depth in one hauntingly beautiful recording.

A rose from concrete, Malibu offers a sense of wonder that's carefully rooted in funk and soul, and presents a complete vision from a blossoming new artist that's not only fearless, but leading something of a sonic revolution.

A veritable three-course meal, Knight's refined palate and keen attention to detail make Each Other a well-paced, flavourful experience that ends too soon, but lingers long afterward.

With Moths, Chairlift make a strong claim to being one of pop music's best songwriting teams, with the production and vocal chops to bring their compositions fully and vibrantly to life.

Though unlikely to win legions of new fans, this is another impeccably crafted psychedelic rock record sure to please fans of the genre.

The confident strut and orchestral accents of "Poisonous Shadows" are somewhat cheapened by ill-advised whispered backing vocals, and the songwriting bottoms out in a handful of places. Still, it's miles ahead of their rather forgettable last album, and there's still enough here for fans to celebrate Megadeth getting back on track and starting a new chapter in the band's storied career.

New View is a lush and beautiful record that stands comfortably in such heady company.

Lyrically, the songs are often about longing and seemingly missed connections, but by creating such a rich and textured album, NZCA Lines connect strongly, expanding their sound and blossoming accordingly.

This is business as (un)usual for one of indie rock's greatest experimental institutions, to be sure.

There's nothing mild about Emotional Mugger; it has an overwhelming sense of madness, but it's addictive nonetheless.

The combination of rich layered instrumentation, carefully orchestrated strings and Stuart Staples' evocative vocals give feelings of loss and loneliness a cinematic grandeur, yet their consistently strong recordings never lapse into sentimental excess. That is a balancing act few can manage, and the group pull it off yet again here.

With this album, they've proven that they're a band with substance, staying power and the ability to question everything--and that's worth a lot.

The sense of velocity and flight, paired with Meiburg's dramatic vocals, delivered with Bowie-like flair here, making Jet Plane and Oxbow a natural progression for Shearwater, and a nice departure from their typical offerings.

Though unlikely to win legions of new fans, this is another impeccably crafted psychedelic rock record sure to please fans of the genre.

Suede establish and uphold the album's gravitas with the type of symphonic grandiosity we've come to anticipate from them.

At no point does any of the growth feel forced. Daughter could have been forgiven for producing another album like their debut, but they took a brave step in embracing innovation. The beautiful Not to Disappear is their reward, and ours.

Black Breath don't quite stand out like they used to, so while this is still a very solid album, the band would have been wise to perhaps make a louder, more out-there statement in order to establish themselves as leaders of the genre.

With Blackstar, Bowie has made a record that fits comfortably within that legacy while reasserting himself as an artist that continuously makes challenging and rewarding music.