While there are subdued moments throughout, Remember The Humans more often than not offers a unique listening experience within each of these songs, supported ably by a wide variety of instrumentation and expansive production.

Hiss Spun is the first record from Chelsea Wolfe that commits entirely to the more catastrophic elements of her repertoire, and the results are equal parts stunning and terrifying.

While William Doyle’s career is undoubtedly on an upward trajectory and I am looking forward to his evolution as an artist, Total Strife Forever is hardly a landmark in electronic music.

There's also a strong pop influence, an element that can interfere with Young Enough's otherwise snappy sequencing—both Capacity and Chatroom incorporate an electro-pop bounce that, though competent, feel more suited for an entirely new project. Still, Hendricks' love-stricken admissions never go unnoticed.

In many ways, Memory poignantly conveys how time has caught up with the Vivian Girls. It may look into the past, but the trio are not the same anymore both creatively and personally—and the time they took apart to explore other avenues works to their benefit. Armed with a deeper understanding of those trying times, and each other, the trio moves forward—and live in harmony with it.

His talent for frank, moderately depressing songwriting is still displayed, but the new album doesn’t have quite the candor and quality of his first full-length.

Already excellent work made better by careful rework and distinct (re)vision.

It can sound almost laborious in its structural directness mixed with its lyrical opacity.

Lovers of schizo-rock will have plenty to revel in.

After isn’t perfect, but it’s certainly an album that sounds as strong and mysterious the first time and 10th time you listen to it.

It's the sweet simplicity that makes Cut Worms work so well in the absence of the character-driven stories that colored Nobody Lives Here Anymore. Trading them out for good old-fashioned love songs and playing to his strengths, Clarke has created another enjoyable Cut Worms album and one that is worth repeated listens.

At times delightful, yet not without its flaws, this is an encouraging debut.

Through her fictitious accounts, the band follows with a harmonious balance of dissonant transitions. Other times, their song structures are more conventional, even if they take on a few grinding solos and lush string accompaniments. It makes for a sometimes confounding if indecisive listen, but Quinlan's passionate eye for detail hasn't withered in the slightest.

This is perfection from a band at the absolute top of their game, but this by no means implies that they’ve peaked.

Vampire Weekend's willingness to write an album of exciting new material, rearranging the very core of the sound they've come to be known for, will be maddening on first listen for those who loved their debut--but those who stick it out will discover that there's a more mature, innovative band in its place.

The White Stripes continue to surprise and entertain simultaneously.

Ultimately, Justice is another example of rearranging and reshuffling the devices of the past, but with complete understanding of their effectiveness to a point that sounds fresh.

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.

The swell of the strings is as equally terrifying as it is comforting, and Hysen’s fragile vocals always contain at least a small sense of peace. Picastro have created a record that is relentlessly bleak but nonetheless a rewarding and enjoyable listen.

In both songwriting craft and execution of recording, The Coldest Winter For A Hundred Years is exceptional.

Any band that can turn over vocal duties as often as they hold onto them and somehow make all the music sound like their own is a band worth watching, and despite its inconsistency and even its lack of imagination, there are a lot of thrills to be had in this hour.

Manipulator stands as Segall’s most intricately woven and patiently developed work.

Wolf Alice have come up with the goods again with their second LP, and in Ellie Rowsell they have a frontwoman who hypnotises and enthralls at will.

With Open Here, Field Music sound like they’re not only investing in their stability but in their future as well.

The shrill production manned by Ben Hillier over-amplifies the percussion and bass textures, making the entire project muddy in a way that can’t be intentional. While the joy occasionally breaks through (the glitchy From the Mouth is a blast), Melt Yourself Down kneecap themselves repeatedly on 100% Yes.

Fans of cult art punks The Embarrassment, rejoice! They mostly revel in the more cutting side of post-punk, but there's a sweetness that balances the sharper notes.

The wondrous sonic beauty of Morning Phase sheds light into Hansen’s otherwise absence of presence, so when the swelling, cinematic strings of Cycle open the record, it’s as if we’re surrounded by an omnipotent being coming down from the heavens.

Some the hooks are among the best the band has ever written... [Yet] the 10 songs never feel like an Album so much as it does a collection of songs, more like productive jams from a group of middle-aged friends unwinding or celebrating than actually adding any kind of blues to their songwriting chops.