METZ are an animal that's evolved to its benefit, with an appetite that's more refined and teeth that are still razor sharp.

Future Islands' landscapes of sound are more intricately detailed here than they have been before. Their poetic angst has matured into something more subdued and dripping with acceptance. As Long as You Are feels, in a way, like the band coming home to itself.

As intriguing as Strange's music already is, Live Forever demonstrates that there's still tremendous potential left to unlock.

Midnight Manor is a chooglin' good time. The album holds true to that classic Nude Party sound; there's a direct sense of growth in its tone, without losing that flavor of personality that makes the Nude Party the characters that they are.

Yves Jarvis has brought his insides out on a spellbinding album that's equally puzzling and gratifying.

There's nothing super memorable about this record, nor is there anything horribly offensive about it either. Ultimately, ACR Loco doesn't match A Certain Ratio's past glories, but it doesn't erase their legacy either.

On By the Fire opener "Hashish," Moore and his trio wholesale borrow the intro, main riff and melody from Sonic Youth's 1998 single "Sunday," while the most poppy and compact track on the LP, "Cantaloupe", freely cops the guitar rhythm of SY's 1992 classic "Sugar Kane." But once Moore becomes tired of repurposing old riffs, noise breakdowns, and tunings, he reverts to simply repeating intros and harmonies across the album's nine tracks and 80 minutes, melding together elements from the sluggish "Calligraphy" and the guileless "Dreamers Work."

Some of album's more pedestrian elements slide by — bouncy, sing-song verses that Pitts can obviously write in his sleep and which come off as a bit insubstantial sometimes, the whole thing threatening to blow away with the faintest breeze. Carefree Theatre is certainly pleasant enough to get swept up in however, and a good capstone to a decade's work.

Shore finds them exploring vaster range than before. No longer do they sound burdened by the need to commit to a particular mood; Pecknold sounds freer than ever to be himself.

This record is just as unique and innovative as each album before it. It's truly and honestly a breath of fresh air, it's just once again under the helm of the producer who fleshed out their unmistakable and haunting sound in the first place.

From the prog-rock storm cloud of "Back to Rock," to the metallic disco stomp of "Worst Comes to Worst" and "C'est parce que j'm'en fous" or the slate grey dissonance of "Lead Sister," the record is a delirious reconfiguring of '70s and '80s pop textures.

While many albums start out catchy and then become more introspective, Haunted Painting loses some of its moroseness to become more pop-ish.

Roísín Machine is among Murphy's best works, a showcase for one of dance music's most endlessly fascinating figures

Lyrically strong, thought provoking and groovy as hell, What You Gonna Do When the Grid Goes Down? shows to the world that Public Enemy still has plenty of gas left in the tank.

Generations feature a magnitude of emotions, both raw and sincere.

NO certainly caters to longtime fans, especially ones who rather be pummeled with noise instead of pulled into new realms, which may disappoint fans of their more experimental songs. But their cacophony continues to provide comfort, especially in these strange times.

His care and preservationist approach to each arrangement gives everything an authentic vibe that transports you back to a much simpler time.

The seven songs that make up The Times are stark and haunting.

Always honing and building upon their sound, Throes of Joy in the Jaws of Defeatism is an outstanding testament to Napalm Death's continued legend and evolution.

It's simultaneously a distillation of his many trademark sounds while also a massive departure from his previous works. The album demands multiple, active listens, but it's well worth the effort. Hidden beneath its complex layers lies an endless well of new modalities, critical interpretations and potent ideas. ... It's not an album we could have ever expected in 2020, but it is the one we deserve.

IDLES are at their best when they know their limits and play to their strengths.

Down to the Lowest Terms: The Soul Sessions is a triumphant return from a funk dominator.

It's all delivered with such fresh energy and so many original production ideas that it's honestly hard to gripe too much. If you've been vibing on Hannah Diamond's Cook-produced debut Reflections recently and were somewhat baffled by 7G, look no further than Apple, a bold and exciting album that boasts focus as well.

How Ill Thy World Is Ordered is a thoughtfully orchestrated masterpiece that reveals something neat and new the longer you stare at it. Lyrically, musically, and critically, Daniel Romano is a soothsaying sorcerer operating in plain sight.

Find the Sun is an uncompromising record from an artist intent on mining further depths, one that finds the beauty in unease — and a sense of purpose in the darkness.

Cantus, Descant is accessible without ever feeling thoughtless, plays to Davachi's sonic strengths, and provides just enough experimentation and variety to justify its daunting running time. It's a journey worth taking.

Even though Protean Threat proves to be an adventurous, quirky and downright strange album at times, Osees manage keep the whole thing sonically grounded and consumable, all while keeping Dwyer's winning streak impossibly alive.

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?