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).