Not everything here was worth saving--the eight-minute jam "Country Brazilian Jam" could have been pared down--but overall, The Other Side of the River is a worthy companion to a classic, unsung album that stands on its own.

Mark Kozelek Sings Favorites comes off as if it was created to serve Kozelek more than to stimulate the listener, making the no-frills, stripped-down set easy to fall for to but tough to return to.

Rae feels light here, no longer weighed down by her past and suddenly able to address pain with emotional wisdom. The Heart Speaks in Whispers is a summer record that reveals the warmth in silver linings.

Everything's Beautiful, indeed.

Whether she'll ever return to Dum Dum Girls remains to be seen, but as Kristin Kontrol, she's offering an exciting artistic refresh that Dum Dum fans should get on board with.

In dialing back the chaos a bit, the band have made room to let the smaller details of their dense and intricate music shine. It may have taken six years to deliver, but Congrats was worthy of the wait.

If All Our Gods Have Abandoned Us was an Olympic gymnastic performance, it would have nailed the double backflip but stumbled just a bit on the landing, leaving onlookers blown away by the trick and barely remembering that last wobble.

While The Home Inside My Head is by no means the band's magnum opus or a step forward for pop punk as a whole, it's definitely a worthwhile listen for fans of the band and genre.

She's surprised everyone yet again by turning her sultry voice and razor sharp intuition in a whole new direction, building Kidsticks off beats and keyboard loops she created in a Californian backyard with Fuck Buttons' Andrew Hung.

There are definitely kinks: certain moments on this EP are disjointed and muddled, as the band throw loose riffs out into the ether and hope they'll stick, but the hooks and verve that made the band successful in the first place are still potent.

The Dream Is Over has no pretext or pretence; the band did what they did best in 2013, and then did it a bit better here.

Lenker's writing in general is vivid, and bursts with the kind of verve its subject matter demands.

Mosey is highly approachable and magnetic without being mawkish, but it also speaks clearly to Romano's various frustrations with his generation. These 12 tunes are as poetic as they are powerful, and house a hefty amount of meaning.

GLADYB doesn't really deviate from the path that was laid down by previous albums Lucky Shiner and Half of Where You Live, but--perhaps even more impressively--it stays decidedly on it, rounding out a beautiful trilogy of semi-danceable, definitely nod-able records. It may even be his best.

While their first record was a blur of contorted thrash tracks rarely surpassing the one-minute mark, there's a newly streamlined focus to A New Wave of Violence that's substantially more brutalizing.

Perfectly written, recorded and performed, Along The Shadow is less an emo revival than a full-on reconstitution.

Earrings Off! is an album that demands multiple listens and gets better with each one.

Kamikaze hits like an electric storm, shaking into its listeners the disconnection that's resulted from our over-connected world.

If you can get past the haughty lyrics on "Fickle Sun (ii)," for instance, then its minimalist piano notes will surely impress. And yet, even that song's musicianship sounds downright conventional compared to preceding tracks "Fickle Sun (i)" and opening track "The Ship," a 21-minute composition that begins with solemn synth moans like a distant vessel's horn.

Shauf brings the same mentality to pop music as the songwriting greats of the '60s and '70s did, with gorgeous instrumentation, subtle arrangements and an all-round organic feel. Paired with his very human and humanizing lyrics, The Party is relatable and honest, simply marvellous.

If you're a longtime fan of the source material, you're bound to find some stuff here to amuse and intrigue you, but you'll still likely see this as a collection of throwaways, of generally inferior covers of your favourite songs. But if you don't know the Dead from a ham sandwich, you may well hear tunes on this collection that turn you toward exploring that chaotic, marvellous, maddening, singular American band.

Despite clocking in at a whopping 70 minutes, Car Seat Headrest pack enough hooks in to avoid lagging, thanks to Toledo's practice with his lengthy yet phenomenal earlier albums Twin Fantasy and How to Leave Town.

On Strangers, Nadler seems to have her perfected her craft, adding even more confidence to keep her winning streak alive and well.

Overall, The Triad is a satisfying reminder that Pantha Du Prince is still the best at what he does.

Hurt & the Merciless is another strong outing for one of the most unique rock bands around, full of the groove, soul and big shiny instrumentation that defines the Heavy.

There's a ton of wild, riotous energy to Nattesferd, but it's a little more cleanly delineated rather than roped together and blurred around the edges. It's a shake-up rather than a clear evolution, but it's a productive one.

Coloring Book is a spirited musical sermon, and Chance's fellow MCs will covet its perfect union of gospel and rap.

Sometimes the melodrama is enough to cringe at; sometimes the sultriness is enough to make you blush. ... Overall though, Misadventures is an impeccably polished take on that sort of emotive sing-scream stuff that fans will love.