he Wainwright Sisters' voices blend together perfectly, and the melodies here are calming--almost too much so. A close listen to the lyrics, though, reveals the darker side of bedtime stories.

Green is too talented to not make a decent-sounding album, but Heart Blanche, while delivering Green's usually masterful take on gospel-influenced and pop-minded R&B, feels listless and lacks passion.

Forever may be too long to wait for Keenan's other work, but it would be wrong to say Money Shot is any less rewarding.

Fans of King Gizzard's earlier material may have trouble stomaching the bubbly nature of Paper Mâché Dream Balloon, but just as fellow Aussie psych band Tame Impala did with Currents, sometimes you simply need to take a chance and put out something unexpected--that the flutes on nearly every track end up working is just icing on this sweet cake.

A sound collage like no other, Garden of Delete finds Lopatin engaging listeners with an album that almost defies description.

[An] engaging Sold Out.

Grimes has given us a complete record that's everything pop should be in 2015: utterly uncompromising, imaginative and, somehow, universally accessible.

Replaying Under The Same Sky enough times reveals balanced interplay between heavy warehouse techno and increasingly noticeable individual craft.

It's clear that the death of his good friend and musical partner affects Kode9 on a deep level, making Nothing one of the most honest and emotionally challenging electronic releases in recent memory.

What makes his debut so appealing is that Shepherd never sounds too rigidly loyal to any genre or sound, making Elaenia a fascinating and confident debut from a tenured rookie.

Like eggnog, it's excellent in December but probably a little nauseating come January.

Although there are no real revelations on Intermission, Shigeto demonstrates yet again what he does best.

Ultimately, Wiped Out! comes off as a "see what sticks" effort; it's slick and polished, but hits varying levels of satisfaction throughout.

American Man seems to fall into the same [alt country-lite] formula, leaving little space for new ideas. They make up for that with enthusiasm and just enough grit; for those who like their country punk-y, raw and simple, American Man is a breath of fresh tobacco.

Many Moons is another deceptively simple, cohesive statement from an artist who is becoming more accomplished with each release.

EL VY succeed in telling the stories of true characters on Return To The Moon, using inventive beats and fresh indie rock structures to make their tales connect.

This is likely not an album to give their career an extra boost, but one that'll surely keep loyal fans happily on board the Rockets' ride.

Experienced as a whole, Mythologies is a satisfyingly rich tapestry woven by a band who've found their strengths and honed them accordingly.

Martin cedes more of the spotlight to Brickell than ever, his strumming always sturdily present but rarely showy.... But Brickell also brings out the best in Martin, revealing his subtlest strengths.

His rhymes are so layered and rapid that they are all but indecipherable, giving them endless rewind value. These features make Bleeds a dense, dark, demanding listen. But patient, socially conscious audiences will not only find it compelling, but galvanizing too.

While dancing to his music may prove difficult, absorbing and enjoying it in other ways is certainly very easy.

Teeming with hooks and lyrical calls to arms, The Things We Do is a unique record, one that rages with youthful vigour, but which couldn't have been made by anyone under the age of 35.

Bizarster is definitely worth a visit for Vibert fans and anyone who wants to relive some glory days, but considering the sheer size of his back catalogue, it's easy to see this one getting lost on the shelf.

While the shock has worn off for their follow-up, Deeper Than Sky makes up for the lack of surprise by being even better executed.

With Sun Leads Me On, Half Moon Run are attempting to shake the title of "that band with that song" and show off how far they have come, and for the most part, it works.

Pylon is sweet 16 for these 50-somethings, and honestly, it couldn't be sweeter; Killing Joke are still promoting the driving dynamics of post-punk, and still doing it better than the rest.

Too often, it is more than halfway boring. It isn't uninspired or weakly performed. Rather, it is boring in spite of the overwhelming bombast, the booming bass and pounding drums, the huge vocals, the wailing guitars; it is boring because rather than electrifying you, it distances and anaesthetizes.... The good news is that those songs are, most of them anyway, pretty great.

American Tragic was a mostly solitary passion project for Fortune, defined by deeply intimate confessions and burning affections that sear into the tracks both lyrically and sonically.