There is a lot to chew on here, and that's what makes GLOW ON an album that will stay fresh after many replays.

From‌ ‌the‌ ‌desert-blues‌ ‌guitar‌ ‌that‌ ‌knits‌ ‌itself‌ ‌across‌ ‌the‌ ‌muscular‌ ‌coda‌ ‌of‌ ‌"Real‌ ‌Pain,"‌ ‌the‌ ‌way‌ ‌De‌ ‌Souza's‌ ‌voice‌ ‌condenses‌ ‌to‌ ‌a‌ ‌vein‌ ‌of‌ ‌skyward‌ ‌fluorescence‌ ‌on‌ ‌"Bad‌ ‌Dream"‌ ‌or‌ ‌the‌ ‌latticework‌ ‌rhythm‌ ‌on‌ ‌the‌ ‌sparkling‌ ‌"Hold‌ ‌U," ‌Any‌ ‌Shape‌ ‌You‌ ‌Take‌‌ ‌is‌ ‌endlessly‌ ‌energized,‌ ‌each‌ ‌corroded‌ ‌riff‌ ‌and‌ ‌synth‌ ‌streak‌ ‌glowing‌ ‌with‌ ‌purpose.‌

De Doorn is not only a continuation, but also a rebirth of Amenra's pilgrimage of apocalyptic heaviness.

While Big Red Machine lacked immediate standouts, it was intriguing for its ponderous excursions.

It's to CHVRCHES' credit that Screen Violence doesn't suggest any shallow, put-down-your-phone answers to the questions it raises. Instead, the album makes an unflinching appraisal of present-day anxieties to summon the vitality needed to keep going, in spite of what keeps coming through the screen.

Although GUMBO'! does move with some inconsistency, Siifu nevertheless delivers a dynamic approach to his craft.

Though the tail end of the LP drags thanks to throwaway dirges like "Justice" and "Sometimes," Love Will Be Reborn is nonetheless as surprisingly and pleasingly intimate and stripped down of an album you're going to hear from someone as naturally theatrical as Martha Wainwright.

In its lyrics and tone, Infinite Granite is remarkably blue, and beautifully so. Some fans might not appreciate the direction the band has taken towards the light, but nevertheless, the heart of Deafheaven remains.

They've aged into something more pensive, monumental and vital. The party is over, and we need these empathetic folktales much more than any of us need to dance.

This is a collection of songs that wink at what previously made this band great and hint at some interesting paths forward, but ultimately declare that BNL have simply become unrequired listening.

The momentum of King's Disease II's eventual first half results in some lag to the finish line, but whether it's inspired singles ("Rare"), fresh collaborations, new ideas or bejeweled one-liners ("How you expect to get love if you don't show none?"), King Nas serves up another reminder that he's no pretender to the throne. The wild ambition has just evolved into calculated wisdom.

The band had already pushed well beyond their initial territory with Nearer My God. Draw Down the Moon transports them out of that world entirely and into a galaxy of their own.

Lingua Ignota comes off much more sombre and reflective, and Sinner Get Ready is nothing short of a strikingly effective album, sounding more like an incantation than a mere collection of songs.

Isaiah Rashad has returned as sharp as ever, delivering an album that houses some of the best material that he's ever released. The album never lulls over its 16-track runtime; instead, it finds an artist who's taken his time away from the spotlight back in a good space, building upon an already strong foundation to result in with the most complete project he's released.

It's not your typical upbeat pop album — instead, it's more reflective and subdued. Through it all, it stays true to the young artist that took over pop music in only a few short years.

Take the Sadness Out of Saturday Night, Antonoff's third album as Bleachers, is at best a heartfelt batch of tracks that are nice to experience in the moment, but rarely anytime after. This doesn't mean there aren't a few glimpses of the full potential of Bleachers' musical direction; they're just crowded by much of the same heard on records past.

Welcome 2 America is an incredible listen and an album that proves that even when Prince had reached his lowest point, he was still capable of creating magic. It's a tight, concise body of work that is a few missteps short of perfection but is still far and away his best release since 1987's Sign o' the Times.

Some of its improvisations feel more impenetrable than others. But the album's unpredictable nature gives it some of its finest moments.

While 9th & Walnut ranks among Descendents' best work, circumstances have made it more of a capsule in time than a harbinger of future classics from the band.

Bridges loves a good love song, and nails a few here.

Despite the abundance of compositional ideas, they are all executed with attention to clarity, cohesion and detail. Thackray's auteurist approach in the studio combined with her peerless precision and control feel like a whole new genre unto itself.

With six of the nine tracks written in 2018, it's unbelievable how well this record flows and holds together — and that's without even mentioning how prophetic the tracks have proven to be over the last three years.

Despite poor production choices and lazy song structures, Pop Smoke's energy and solo spurts of brilliance won't allow for this stale posthumous release to tarnish his legacy.

A carefully orchestrated and patiently rendered collection of songs that recasts Cottrill's music in the visage of artists like King and James Taylor.

It's inevitable that lately i feel EVERYTHING will be relentlessly compared to its influences and predecessors, but Willow manages to pay homage to the subculture while putting her own spin on it.

Even when Wavves tread some familiar territory, the nine-song album is so short and peppy that it whooshes by like a refreshing ocean breeze.

Vince Staples is the rapper's most personal and emotionally resonant project yet, and the choice to opt for a stripped-back approach complements the content greatly. Vince's blunt and bleak observations on life, death, humanity, gang culture, paranoia and trauma fit perfectly with the sparse and skeletal soundscape of this LP. It feels like every instrumental here was crafted to give his words the room they need to have the impact they're meant to.

SAULT carry on commenting about those still-relevant issues with vivid lyrics about injustice wrapped in captivating rhythms.