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.

Mythopoetics may be Rose's most approachable album, but that just means that the world has finally caught up with Half Waif's wide-lens world.

Get Up Sequences is a nevertheless solid example of the Go! Team doing what they do best.

Tyler has delivered a project that yet again pushes the boundaries of his music while simultaneously being a culmination of everything that he's done so far. It's yet another impressive outing for an artist whose reign doesn't seem to be stopping any time soon.

Planet Her has no skips, not even the previously released singles. It showcases many sides to Doja but remains cohesive — if you don't consume it in its entirety, you'll definitely miss out on truly understanding her world.

It's clear Atreyu crave rebirth in the crucible of lifeless arena rock, but with a selection of tracks this dull and inoffensive, they'll probably get their wish.

It may not be the triumphant return fans had hoped for, but it's not a desperate gasp for one last breath either. It's somewhere in between — a bittersweet last hurrah. Demanufacture from 1995 will always be the rusted jewel in Fear Factory's scrap metal crown, but Aggression Continuum is a worthy final program before an inevitable systems reboot.

On Back of My Mind, H.E.R. is in total control of her sound, with masterful command of her artistic direction.

Dacus has long been heralded for her ability as a raconteur, and Home Video further cements this reputation. It is a deeply personal album filled with raw vignettes of young adulthood that claw at our collective consciousness.

On Pray for Haiti, he has successfully stayed true to his roots while offering unique yet less obtuse content.

Though eschewing the (mild, but still present) domestic theatrics of their earlier works for more wizened fare may have muted their immediate impact, their knack for immersive melodies and grooves keep things compelling.

You could call Butterfly 3000 the least King Gizzard album of their career — there is next-to-no distortion or guitar riff theatrics. Nevertheless, it's a refreshing departure from the psychedelic garage records the band has released in the past few years.

Despite its slightness, Broken Hearts and Beauty Sleep nonetheless shows Mykki Blanco as an artist with big ideas to go along with their big personality.

If BLACK METAL 2 is less Blunt-as-provocateur and more Blunt-as-storyteller, then both longtime fans and brand-new listeners owe him the opportunity to paint that morose picture in equal measure. Regardless of your familiarity with Blunt's music, you're bound to be rewarded.

Even Islomania's bleaker moments kinda bounce, refracting their darker sentiments in compelling ways. And in that, Islomania proves a lively, welcome return.

The Migos formula works, to be sure. But it's those occasional reaches outside the tried and true — be it beats or collaborators — that make for a more compelling listen, even if they don't always smack the mark.

With Bodies, they sound lost without an identity. There's barely anything that's exciting or memorable, and when it surprises, it's only in the wrong ways. The band sounds about 30 years less experienced than they are.

Some additional layers wouldn't hurt next time around, and perhaps some brighter, more varied production when the opportunity arises, but this is a solid, high-energy debut from a pair that definitely has their style figured out already, with lots of room to build.

Kommunity Service manages to deliver on almost every front. It's an impressive collaborative effort from two of California's brightest stars, yet another solid release in Mozzy's rapidly expanding catalogue and a much-needed return to form for YG following a few subpar releases.

Combining the uncontaminated brawn of 2004's The Woods with the hip indie sensibilities of their early LPs, Sleater-Kinney have finally relieved their all-encompassing crowd-pleaser with the sonically pleasing Path of Wellness.

Outside Child as a whole exhibits a lust for life in spite of its trials.

Phair is at her best when she confidently picks a lane. Soberish is uneven because of her indecision, but it's still her best album since 1998's Whitechocolatespaceegg.