Throughout, We Fall is a slow, contemplative record, perfect for those introspective, late evenings. It occasionally has some interesting post-rock vibes, especially on the guitar-driven tracks, but elsewhere the slow piano playing is closer to older ambient records.

Lee Ranaldo/Jim Jarmusch/ Marc Urselli/ Balázs Pándi is an egoless collection of ideas from four musicians who sound like they've been working together for an eternity.

DJ Khaled knows how to produce a hit with any number of artists, but his 2019 effort could have used some more growth like Asahd.

The fifth Black Mountain album is their most driving album yet, literally. It was edited on the road, directly influenced by the feeling of being behind the wheel. Of the 22 tracks recorded, the eight that made it are as propulsive as you can get, hard-edged cerebral space trucking.

Fun and compelling as such high points can be, nothing on this album reaches the strata of the title track.

Contradictions and duplicities abound. But Webster is not putting us on. For all of its facades, Atlanta Millionaires Club is a work of arresting candour.

Reward is a lucid rush of avant-pop. Dreamy and sonic echoes, layered with Le Bon's sotto voce lyrics, make this her most compelling album.

For the most part, Morrissey sounds like a cheap facsimile of himself; an aged crooner without any latter-day grace. Moreover, the features list on this album, including Billie Joe Armstrong of Green Day, occasionally comes into play with no impact. Coupled with Morrissey's complete lack of finesse in his vocals are the instrumentals, which are, for the most part, the dictionary definition of clinical.

While this release really doesn't break any boundaries, it's beautiful and doesn't demand much more than good feelings. In these times, that's no small thing.

Seven Steps Behind is an album that, for the most part, has found its footing with a few missteps along the way.

Rave 'Till You Cry is as brilliantly insane from start to finish as any other collection Raczynski has assembled.

Where Black Is the Color was a debut of haunting folk-noir, Deluxe Hotel Room is a collection of emotive ballads that reveal an artist on the go who isn't afraid to make space for herself.

It certainly sounds diminutive in scope after the triumph of Iteration, and, despite the new gear, there's not much that sounds especially new or exciting here, just the usual Com Truise stuff in a slightly reduced register.

While it's hard to say whether or not it bests E•MO•TION, Dedicated does something arguably more important: as her first major work since 2015, it confirms both Jepsen's consistency and longevity as a songwriter.

Menuck and Doria found a new creative partnership, and each return to are SING SINCK, SING provides that crucial reminder while offering a shoulder to cry on.

The album's 11 tracks are anthemic, rhythmically driven, and infectious, perfectly blending industrial and electronic elements with hard rock and heavy metal in a distinctly unique way.

Pollard races through each song with all the gusto of the late '90s. His enthusiasm, though charming as ever, falls just shy of justifying what often feels like a collection of chaotic, unfinished demos.

The Best of Luck Club may lack some of the whimsy that got her noticed, but with this more mature turn, Lahey has expressed some lyrical depth that wasn't quite there the first time around.

I Am Easy To Find feels like a restart for a band in its 20th year. It might challenge some fans and may not ever grow on others, but more than anything, it proves that the National are not the band you thought they were. They're way more than that.

The Get Up Kids have a talent for writing catchy and infectious hooks and choruses and it's what has kept them on the map for over two decades. Both old and newer fans will find songs they enjoy and hopefully never stop listening to on Problems.

At 53 blurry, delirious minutes, it's a lot to take in. (Better suited for that might be the more melodious, less dense Dripping or this record's chronological and spiritual predecessor, A Hairshirt of Purpose.) But it's a strong step forward, and offers no more or less than exactly what Pile are all about.

LEGACY! LEGACY! is a complex and near-flawless reworking of genre--"I am not your typical girl," as Woods notes on "Betty"--as the singer-songwriter evolves her art, thought and reason for being.

Versing have an aptitude for taking the familiar sounds of earlier genres and developing them into something fresh. 10000 is bold and jarring when it needs to be, filling space with ubiquitous noise and melody.

On Anoyo, Tim Hecker stretches out his heady winning streak for another 32 striking and captivating minutes.

Fear in a Handful of Dust might just be the best sonic definition for imperfect beauty we've got right now. Luckily, with the recent formation of Tobin's new label, Nomark, it looks like we'll be waiting far less than eight years for the next body of work.

At its best, the album retreads familiar ground.

As an album, YU feels like a body of work sewn together with interludes, hooks and a growing maturity. Lowe has made a statement by developing inward musings into grooves that reach toward new audiences, the heart at the centre of her work audibly beating.

You don't just feel unburdened of "progress" dysphoria, you feel like you've emerged from the paradigm equipped with a new language to help you navigate the next one.