The album is an ode to all that Khruangbin have achieved and a look forward to everything that is to come.

While the record may not have been what she was expecting to create, it illuminates immense growth and versatility in Margaret's strength as a songwriter and as a producer.

Taken as standalone stories, they're almost brazenly mundane; considered as a whole, Somewhere paints a picture of the small pleasantries and anxieties of everyday life.

Couple the simultaneously sparse and noisy production with the overall scant running time, and the album unfortunately fails to leave an impression, especially in an area of music that has become more and more saturated since the band's 2018 breakthrough.

The 20-plus years of material featured on this record hold together with a remarkable consistency. 10:20 is far from being the sonic grab-bag of disconnected whims and ideas which would not have been completely unwarranted to suspect.

Although Kinsella still writes dense math rockers ("On with the Show") alongside uncomplicated acoustic ditties ("Headphoned"), The Avalanche seems to meld together into slosh of uniform sound, leaving the listener with an album that is emotionally thrilling even when it is tactilely urbane.

It makes for a frankly less fun and memorable album, but Baauer remains a master of the big party moment, and some of these are red hot.

Fans of Braids and those interested in the kinds of personal, political and artistic struggles this work deals with will enjoy spending time with this new record.

Rough and Rowdy Ways is the work of a man in love with language and philosophy, and, at 79, he continues to take the pulse of the zeitgeist with unerring precision. He ain't no false prophet, he's an artist, he don't look back.

Verminous acts as a solid testing ground for experimentation in the band's sound that works well and could be improved and perfected as time goes on.

The maturation of Bridgers' craft, and influence of her peers, is apparent on Punisher. The songs alternate between tightly wound pop-rock ("Kyoto") and a soft concoction of folk-rock ("Savior Complex") and both sides feel focused and sturdy. Bridgers keeps getting better and Punisher affirms this.

Through songs now considered longtime favourites, and ones that will now find wider audiences, Homegrown is now free to stand as a more organic, lovelorn harvest of the personal turmoil that influenced Young's revered mid-'70s output.

Sleep On the Wing finds comfort in discomfort. The emotions expressed are not completely happy but there is also the sense that listeners can make peace with this.

Despite such inclinations towards the jaded and cyclical at times, Out in the World boasts enough latitude and flexibility to hook interest.

Lamb of God is essentially what fans should expect from the band at this point. Nothing on it feels groundbreaking or cutting-edge like the band's music did in the 2000s, but then again, it's unlikely Lamb of God will ever muster up that same aggression from the comfortable place they sit now.

Hardy and her band have written an album that meets the daily crises of life head on, finding light in the darkness and the motivation to keep going. That victory was born out of a very personal fight, but with Survival, Wares make the personal universal.

Omens is more of an extended jam session, with the four dudes of Elder playing off each other's musicality, never getting ahead of themselves or losing the plot.

Summerlong showcases Johnson's prowess as a songwriter, as effortlessly as the sun shines on a clear summer day.

Sondre Lerche's latest may not be worth picking apart lyrically, but it is a treat for the ears. The exquisite production combined with the pop sensibility on Patience makes it delectable.

The album's ability to blend genres results in an unique and alluring archive of sound — a strong coming-out party for the Baltimore native.

Between Fox at this most stripped back and Fox at his most ornate are "Vedana," "Arising and Passing" and "Parasthesia," which mostly eschew the stream of consciousness rhythms and melodic flourishes of the rest of Contact for a more pensive feel, replete with drones, tuned percussion, and tantric textures. These tracks aren't ineffective so much as they are on a different plane from the rest, one less ecstatic and adventurous.

The album finds Knxwledge stretching in unpredictable new directions, while also maintaining the soulful throwback sound that garnered him so many fans in the first place.

At the end of the day, the Lovells have created another strong, forward-thinking record that continues to show an overall evolution in Larkin Poe's sound and style, providing a worthy followup to their previous outings.

Originating as instrumental studio sketches, Kember's change in scenery gave birth to lyrics that add substance to the LP.

Chami really does know how to use her voice to soothe, entrance and fascinate. This, combined with the uncanny synth melodies that she is able to concoct seemingly out of thin air, is what makes her music enjoyable, and practically ineffable.

It's a slightly scattered record, but one fuelled by an invigorating conviction and helmed by an artist with the gravitational pull to make it all align.

Fantasize Your Ghost encapsulates the thrilling and sometimes terrifying joy of moving forward and finding the confidence within yourself to be exactly who you are — an album with enough depth and passion to fill a room, something you can listen to on a loop and never get bored.

No Age's latest is not ground-breaking, but it doesn't need to be. It's an enjoyable rock record from a pair of sonic auteurs whose instincts for DIY noise-punk are as strong as ever.