Why Love Now shows Pissed Jeans' songwriting reaching new peaks of awareness and focus, all the while remaining true to their brand of dissonant punk.

Challenging the perception of shared space and visibility, Tamko has released the perfect record for women of colour who, unbeknownst to some, have been secretly shredding harder then white men for years, and are finally ready to be heard.

While these eight tracks rarely involve an epiphany either narratively or musically, their anecdotal nature is a reminder that not every story has an ending, and that the memories that stick with us are often the ones we don't fully understand.

Americana record of the year? It's up there.

Each song on The Bad Testament sounds old, yet somehow unfamiliar, a portrait of the outlaw country bad boy as an old man.

Though it's not quite perfect--some songs wear out their welcome before they finish--this album is written and arranged in a sonically and lyrically engaging way, and will surely excite the faithful, even if it fails to convert fence-sitters.

It's too long, sprawling and musically unappetizing for many to be willing to sit and digest as a whole. Rather than being a record that you listen to countless times, it's more like an autobiographical book that you read once out of curiosity and shelve simply for the sake of collection.

Nightmare Logic showcases Power Trip at their strongest yet, and packs its 30-minute runtime with songs that push everything they have done right so far to an entirely new level.

Flying Microtonal Banana is another wonderful release by King Gizzard.

The album's missteps aren't egregious; rather, it's that after multiple listens, very little sticks. The Tourist's inconspicuousness is its biggest issue.

The results show the oft-dramatic vocalist crafting some of his most meditative and emotional songs to date, as the high drama is cleverly delivered through pained phrasings and gently cinematic instrumentation.

No matter how many musicians he showcases, no matter how many sonic avenues he takes, no matter how many tracks he squeezes in, Thundercat sounds undeniably and defiantly like no other on Drunk

A consistent, flawless catalogue that spans nearly three decades.

On Freedom Highway, Giddens juxtaposes historical narratives with present-day contexts for an emotionally powerful record.

Old 97's show no sign of mellowing out or pandering to their audience, making Graveyard Whistling a sort of stubborn achievement.

Surprisingly, Jidenna makes it work, commanding the listener's attention from start to finish.

Teri Gender Bender's vocals are the star and the driving force here, pretty much the only truly engaging element.

Los Campesinos!' brief hiatus has resulted in one of their strongest releases to date; Sick Scenes is an eloquent testament to the triumphs and trials of adulthood.

He has the knack for cramming hooks into the unlikeliest places and ending up with unforgettable songs. If this is what he made with nothing, the potential for his music when he has everything at his disposal seems limitless.

Although the 40-minute LP may come off as the work of an artist still trying to find his sound, Long seems to somehow pull off an enviable genre-bend on An Act of Love.

It offers the impeccable, twangy power-pop aesthetics--but also the oversimplification--of [Lucinda] Williams, and the sparkling, immersive production and raw honest lyrics--but also the never quite on key-ness--of the latter [Billy Childish].

Well-crafted and delightfully infectious, The Courtneys II is a sequel that surpasses their already-great original.

The more cerebral, out-there music fan may find it all too easy, craving the satisfaction that comes with gaining an appreciation of music that's challenging to the ear. Most, however, will rejoice; as should you, because FORGET is overwhelmingly and immediately Xiu Xiu.

While it can be a pretty heavy and involved listening experience at times, Undying Color should more than satisfy long-time fans and impress connoisseurs of avant-garde/ambient music.

It's a piece that Basinski apparently revisited and refined throughout 2016, a year made monumental by its cultural losses--and it's one of his very best.

Unfortunately, there are a few too many moments with a "more is more" approach, and they hold the record back.

Voyeuristic as it is, Dirty Projectors truly does feel like a record he had to make, not to mention one that's well worth our attention.

With exciting production that features his usual cast of ATL tastemakers who are (in some cases) paired with surprising co-producers like Jake One and !llmind, Future has crafted an opus full of bangers.