While this album isn't likely to draw in a lot of new listeners, it's a well-crafted record that provides a fresh soundtrack of ultra heavy, doom-based brutality.

One lyrical misstep in "By My Demon Eye" (the use of the ethnic slur "gypsy") disrupts Stables' otherwise charming lyrics, but otherwise, Moonshine Freeze is a uniquely woven tapestry of captivating beauty.

Ultimately, Something to Tell You rests uncomfortably between the retro California pop sound HAIM pulled off so perfectly on album number one and experimentation that reaches a little too far into a cartoonish computerized concept of the future.

With the exception of the title cut, which is among the band's best-ever songs, Hug of Thunder isn't a life-changing album. That said, it's a case of a classic group sticking to their guns and highlighting what made us love them in the first place.

4:44 is a refreshing, full-circle moment for hip-hop lovers--and a true pleasure to hear.

If all of this sounds like it's a nostalgia kick for aging ravers, then that's because it is, but it's also just as relevant for this current generation of rug cutters. We now live in an era of constant throwbacks anyway, so Garave Vol.1 fits as snugly into 2017 as any other.

Here, unknowable sounds hover, skitter and undulate against a backdrop of refined, futuristic grooves.

A more challenging and elusive listen than the felted atmospherics of Chance of Rain or In Situ, this is Halo at her most artful and poetic.

GN isn't a huge step towards indie stardom, but it should get them in the same conversation as like-minded peers like Pinegrove and Big Thief.

Fans of textured, cinematic soundscapes and left-field hip-hop will find Ruinism the most satisfying, but Howard's style is distinct enough that adventurous electronic music fans in general should at least check it out; it's as polished and well-realized as any of his output thus far.

How the West Was Won is a very welcome return.

While INVSN probably won't shock anyone sonically or lyrically, there is still definitely a spark of creativity and honest expression here.

If Snoop could just cut his track lists in half and focus on well-crafted party songs, the Doggfather might just find himself back on top.

Overall, Wintres Woma is a great showcase for this extraordinary folk hero that suggests even better things might be to come.

Wall falls on the folky side of the Americana divide, generally, and fans of Townes Van Zandt (whom he covers here) will be well served for sure. But there're some nods to Jerry Jeff Walker, David Allen Coe and others in the shambling troubadour tradition scattered throughout the record, a rare, confident, and remarkable debut from a talented newcomer.

They're disorienting, at times disturbing and very abstract, which basically makes it the perfect visual representation of the album. The record feels like it's falling apart at times, but there's beauty in its disarray--like its accompanying videos, it's hard to look away.

Although the compilation only runs at a short 66 minutes, it's the pure quality of music involved, paired with the gorgeously laid-out extensive 44-page booklet included (filled with photos and obsessively researched liner notes), that makes Pop Makossa a must-have for fans of African music and disco purists.

The diversity he curates quickly turns messy, though, as a surplus of talent doesn't guarantee musical versatility.

It's an album that sometimes benefits from its wealth of ideas but often finds itself trying to find its way back to a central one.

As contentious as Staples' ear for beats is to some listeners, it's refreshing to find him swimming away from a school of rappers comfortable with sonic stasis.

If you're looking for a good time and willing to embrace Rozwell Kid and all their oddities, Precious Art will make for a fun and, in some ways, nostalgic listen.

Beautiful Thugger Girls--which lists Drake as executive producer--pushes the boundaries of Atlanta hip-hop while adding yet another groundbreaking project to the trapper's discography.

If Pretty Girls Like Trap Music doesn't make the rapper an immediate king of the South, it undoubtedly puts him in line for the title.

Despite how thunderous Thatcher sounds behind the drums or how dirty Kerr's bass tone is, unfortunately there isn't a pedal for more robust and compelling songwriting.

For Tweedy diehards, these intimate reworks may come off as a nice fireside chat with an old friend, but those less familiar with the singer are better off starting with the originals.

Progressing across a grid, Olson's explorative approach to loop-based production of music reveals an intuitive and refreshing approach to deriving emotive depth from a machine.

Working with Portishead's Adrian Utley and adding Matt Tong (Bloc Party) on drums, Algiers have managed to create a dizzying tapestry of sounds that incorporates wavy synths, industrial fuzz and gospel choirs into a protest record that embodies the key stages of grief.

Do not be deterred by Scogin's past endeavours; this is not a metal album--not even close. This is lyrical, groovy, poignant, unimpeded and, above all else, creative