II triumphantly bypasses novelty for a more meaningful level of significance: An album whose songs, personality, and band-chemistry come together for something that could well outlast its own current weirdness.

The lethargic energy of 'Come Down' precedes the smartly sequenced title track and country twanged 'And I Thank You,' Outside Love’s duel highpoints the perfect culmination of its previous output.

Mostly it is simply an impressively touching and intensely human affair--right now, it seems, nobody does melancholy quite like Girls.

jj have crafted a truly fascinating album and one of the best hidden gems this year

When it gets it right, it gets it absolutely spot on, but a little more variation wouldn't go amiss. However, the album's highlights – and there are many – are just so fantastic that you can forgive it an awful lot.

The transformative qualities of Spring reveal themselves with time and patience. What begins as a search ends with a confirmation of newfound clarity, where every location Cohen visits inspires new questions and new experiences.

An intense, serious record. Call it what you want, but in the hands of Mandy, Indiana words like ‘genre’ and ‘style’ feel utterly redundant.

The Next Day is the best Bowie album in 33 years, but it’s perfectly reasonable to not even call it a top 10 Bowie album.

Valtari, their long-awaited joint band effort, revolves to realign their focus instead of undergoing any drastic transformation.

It’s an extremely listenable record and definitely fit to stand aside their finest work.

What's most impressive is how Lenker stands apart from both modern singer-songwriter tropes and the cult psych-folk canon, creating a haunting mood that touches upon both sides with her own unique touch.

Compared to Rock and Roll Night Club, 2 is a more polished and refined take on his brand of minimalist rock, structured around his keen songwriting.

[Sadie Dupuis] leads from the front with an outrageous level of assuredness and a delightful penchant for a hook.

Iit’s hard to deny that the blistering riffs of A Stare Bound in Stone, Daggers of Black Haze and it’s ass-kicking title track demonstrate a pitch-perfect excellence in death metal you only get from seasoned pros in the genre.

With each album in Cronin's catalog, he seems to grow in confidence and song-writing ability—and Seeker is no exception.

A raw, yet purposeful execution that never spoils his clear-headed grasp.

Each moment on Is Survived By is a hotly tempered emotional assault that leaves no closet-bound skeleton unaccounted for an un-torched.

Tomahawk has since its debut defined itself and Patton provides enough of an anchor to carry the band through lamentation (I.O.U.) and noir-ish narrative (A Thousand Eyes) in addition to its heavier output, which make up the album's best moments.

Nielson is comfortable enough in his own songwriting to settle into airtight grooves--with the assistance of the clattering, shifty drums from his brother--and allow them to simmer for a few golden moments. His guitar playing is sensational, and his use of warping effects to achieve the right mix of tightness and sensitivity gets better with each UMO record.

It’s hard to find fault with the record since anything you think might be lacking, melodic interest, harmonic development, rhythmic drive, etc, was certainly left out deliberately.

What makes all this work, however, is Iceage’s commitment to darkness. Their signature, dirgey melancholia broods through standouts like Catch It and the title track, reminding listeners that while Iceage are willing to embrace pop, they’ll never do it with a smile.

The band stays true to their rhythmic minimalism and bouts of art-infused modernity and Red Barked Tree has a consistency that its predecessor lacked to some extent, though 47 seemed more prone to experimentation and risk.

Though it’s tough to get a sense of what exactly it is that’s causing all of this suffering, the details don’t seem so important in the end, as Drifters / Love Is the Devil is the sound of pure isolation and dread wrapped in one bleary, beautiful package.

If ancient Rome is where you want to go, Ancient Romans is your time machine; your one-way ticket to that magical, distant land.

It amounts to one of the more dense, layered, anxious, and fun things they have released in a long time.

It is impassioned and political, but most of the album is more life-affirming than alienating. These are songs about solidarity and overcoming adversity, either through specifically female friendship or finding that strength introspectively.

Clocking in at a brisk 28 minutes, Harm's Way unfolds with not a minute wasted, similar to Weezer's Green Album. And while they couldn't be more far apart in tone and ambition, they're comparable in how they progress with limited dynamic range and a generous amount of hooks.

The retro-soul resurgence of the 21st Century has seen a number of artists whose names have become bywords for quality: Sharon Jones, Eli "Paperboy" Reed, Lee Fields. With Into the Blue, Aaron Frazer has demonstrated he deserves to be held in the same esteem.

We know better than to call Push The Sky Away Nick Cave’s best album, but if you want a portrait of the artist, as an artist, the album qualifies as “essential” even by the strictest definition.

Combining 60s girl pop and 70s garage pop with the lo-fi mist that, admittedly, shares common ground with bands like Wavves, Vivian Girls and No Age, Dum Dum Girls come up with a very relevant and heartwarming throwback.

She knows what it is to crave whiskey, to lust after men, to flout the petty hypocrisy of small-town country life and then cry and ask Jesus for forgiveness. This time she wove this narrative of Southern womanhood into The Blade and, by forgoing judgment and flaunting all its incoherent complexities, made it universal.

His newfound knack for experimentation does take Deafman Stare into some uncharted territory, but as the classic shuffle of 22 Days attests, his tangential compositions wouldn't resonate as proficiently if they also didn't capture the majesty of his nimble performances.

There's an amazing balance on Feel It Break. You should have everything you need, if your needs are met by a beautiful blend of virulent lyrics, pumping beats, with addictive dark melodies.

All those flinching sounds can surely give some fatigue after a while, but does it matter when it’s so good at instant gratification.

This music is intensely free, ecstatic and original. But make no mistake - it’s very, very hard to listen to.

As with most any debut, Marry Me is imperfect and not without clear misfires, but with Clark’s unwavering confidence, the whole record seems clearly aware of this, and these failures still serve a purpose.

Multi-Love demonstrates that the band isn’t beholden to a singular, lo-fi aesthetic. And for now, that’s more than enough.

Dark and sonically cavernous, Marshall's fourth release as King Krule fills the innermost spaces of his soul with glacial rhythms that vacillate with tension and release.

Farm succeeds just where Beyond did, by being an absolutely awesome record. If there’s one thing that can be taken away from it, it’s that we can all relax now and let Dinosaur Jr. do their thing.

Despite the obvious logistical convenience that made possible the merge of Boeckner and Daniel, A Thing Called Divine Fits makes a strong case for established musicians who randomly feel an urge to start a band.

The lack of engaging realism has always been one of the major problems for Of Montreal and the new material goes a long way towards solving it.

There’s still much celebration to be had in Carrier; they just channel it in a way that’s not expected of them.

A work of remarkable beauty, Elegies To Lessons Learned contains far more reasons to be cheerful than it reasonably should, and if you’re looking for post-rock done properly then iLiKETRAiNS are more than on the right lines.

This is a pop record, and a great one at that. Hints of Elastica, Veruca, Republica, even Neko Case (isten to the country-inspired refrain on That Ain't Right) pepper this satisfying debut.

Despite minor quibbles what you have here is one hell of a late-night record, with plenty of wistful longing and just enough sunshine to keep you off the suicide hotline.

There's a seamless fluidity to how they're dependent on each others' input, and their contributions seem to suit their interests. It's an unerringly sincere look into a trio who are moving into adulthood, one stumble at a time.

A lot has happened in 10 years, but DFA’s approach to making ferocious music certainly hasn’t.

This is Kim Deal’s version of scuffed-up shoegazer rock, albeit with a shit-eating grin shining off the moonlight.

This album is a brave, bold-faced exorcism. While the wounds may still be fresh, the healing has finally begun.

The dynamic range on the album is, quite literally, startling.

Despite the moments where you feel like you're having a bad trip, there's a deranged brilliance on Castlemania that's difficult to ignore.

Richmond Fontaine should be commended for bucking the singles trend and crafting an album that functions best, possibly only, as a whole, especially amid rumors of the album's impending demise.

His manipulations have gotten more patient, his sketches have become full tunes, and half-obscured melodies have received a lighting from the lamps.

The Age of the Understatement might have been conceived as a tribute to a beloved era in music but thanks to the industry, enthusiasm and talent of Alex Turner and Miles Kane it’s become something much more interesting than that: a great record in its own right.

Bandana is one of the most satisfying rap records I’ve heard so far in 2019.

It's the work of a mature and serious artist, who has made a unique and lasting contribution to pop, and this album will continue her reputation.

I Don’t Run never ventures too far away from convention, but it doesn’t need to. It’s that familiarity that allows them to ramp up the sentimentality without coming across as kitsch.

Fresh with a 4th record label (Leeds-based Hatch Records), this latest coming is a dynamic, complete, and assured record, and an exhibition of how grunge music should sound in 2014.

Heroic, monumental and wondrously sensual.

This is a record to really fall in love with.

The album clearly bounces back and forth between those moments of emotional annihilation and utter hope and optimism. But more than that, with those tracks book-ending the effort, the record's most basic motif is clear: even as lords of rock, the men of R.E.M. still struggle daily with their own issues and the standards of the world, but welcome the battle with ever-glowing smiles.

The fact is there are just too many smart, well-written songs on this album to get hung up on the messy sound.

As the pieces continue to invert themselves halfway through their running time, the album begins to resemble a child’s ambitious science experiment gone haywire. For this, Signal Morning shines.

Citizen of Glass is like entering a misty realm of wonder where each unpredictable turn holds a new set of unknowns.

Everything Else Matters is a strong and accomplished debut by a band that, whilst clearly taking a lot of their cues from the past, are still looking to push sonic boundaries and create intelligent mood pieces.

The Belbury Tales is a solid record and a fantastic listen.

Willis Earl Beal is a phenomenal vocalist, with a unique drawl and searing tone. Phenomenal in virtuosity, yet even more astounding with his delivery.

Ogilala is anything but musically overwrought, and the melodies do keep a haunting quality that elevates his distinct quivering voice.

The overall effect is pristine and seamless, and the work of a supremely talented composer and producer.

Their song-oriented approach recharacterizes a project that was once known for their simple, garage revivalism. Wand now rise above that notion--it's a refreshing move that makes it even harder to pin down their artistic evolution.

These songs work as an extension of himself—coming from one of indie rock's most literate songwriters—delivered with thoughtful compassion and no shortage of ambition.

Although it runs a bit too long and some songs blend together, Bird Songs of a Killjoy is a heartwarming and enchanting listen. It’s as far from a killjoy as you can get.

At 58 minutes, it does run a little long—and I probably would’ve cut songs like On Track or the two-minute flatliner Glimmer. But every time I’ve started this album since it clicked with me, I’ve finished it. Isn’t that the most you can ask of any record?

Ambitious, varied and unquestionably fun, this is one of the most joyously unpredictable records of the year.

With it's at times blissfully understated cool Mirrorwriting confirms Woon as a man capable of a making truly remarkable music, the sort of music that makes it clear what a miraculous triviality it is to turn on a record and let it spin.

Sports Team does have the tunes to match their swagger, and having a sense of humor certainly doesn't hurt.

Very few dance albums are, and in the end, that’s what Phoenix created--a dance album, possibly the most enjoyable one since "Oracular Spectacular."

There's such an embarrassment of riches in Lost and Safe.

The resonance of Let Them Eat Chaos is mammoth, and Tempest’s lexical flair is the difference maker.

Ultimately, Something Worth Waiting For is an album of good songs with some sequencing and balance issues. Its problems have nothing to do with quality in the traditional sense, but Friko will need to temper some of their maximalist tendencies if they want to seize the indie rock throne.

Ultimately an excellent record. Where the message is muddied, thankfully the music is often, simply put, beautiful.

Petals for Armor succeeds best at sustaining a mood throughout, capturing the chaotic ups and downs of depression. Some moments are sugary sweet, while others are biting and angry, but the album keeps things healthy by switching between infectious pop tunes and mellow art-pop parts.

Jamie Woon has dropped a second LP every bit as captivating as his first, and it’s hard to find any faults with this piece of work. Sumptuously slick, and with the humidity of a tropical locale. Make sure you make time for Making Time.

World's Most Stressed Out Gardener went through several iterations:—a flute record, an electronic record, “a pile of garbage,” the album’s Bandcamp page says. Yet from these fractured origins came an intriguing album that comes together in unexpected ways. VanGaalen, like everyone else, is making the most of today’s mess.

Margolin's bare-faced humanity is what's at the core of Every Bad, heightening the complicated feelings inherent in every one of us. Still, don't feel fooled into thinking that Porridge Radio's music is simple in terms of character and dynamic range. Whether they intend to or not, their tuneful, guitar-driven songcraft practically obliterates the left-of-center indie that's softened the genre into dreamy, pillowy mush.

Falling... is a remarkable leap forward; as Lightspeed Champion, Hynes is, at last, a serious contender.

As a bite-sized musical excursion, the stylish electro house of Ditto's solo debut is likely to leave many disco doyens wanting more.

It's easy to see how the impact of this sort of music might be lost on record, but White Hills put their studio to great use here, proving they can sound both impressively cohesive and totally baked.

Shauf and his troupe handle their debut project with an exceptional level of attention and care that points to its potential longevity.

What makes Beware the Dogs such a fun and engaging listen is how Donnelly expresses her opinions with such imperfect candor. There's not a second where you doubt that she's not amusing herself, relishing the creative side in her intimate space with her tongue firmly in cheek.

Heaven is Humming is not only a surprisingly potent post-hardcore tonic for this era, but portends great things for GOON moving forward.

Admittedly, R Plus Seven is a challenging album, one that doesn’t quite unravel itself on an immediate listen. Yet for all its complexity (of which I’m still trying to comprehend myself), it never comes off as ham-fisted or impossibly inaccessible.

Overall, the album’s sub-40-minute runtime leaves minimal room for filler.

This is the band’s second album after their somewhat missed "Kamehamena," and their pounce only proves to reinstill the style of the album’s predecessor.

While it won’t be for everyone, and won’t be an album for all occasions, Life on Earth is a stark, devastating achievement.

It's endlessly fascinating... [However] the album occasionally com[es] across as wilfully obtuse.

The album frequently descends into seemingly chaotic feedback and amp fuzz but the dirt is very much artfully, deliberately applied.

The duality of hopefulness and dissolution she presents is intoxicating (with droning, ethereal soundscapes that are chilling in their stillness, to boot).