Some may argue that there’s nothing here the Ramones or Jesus and Mary Chain didn’t do decades ago, and there are obvious similarities, to be sure. However, the decidedly female energy the Dum Dum Girls bring to the table puts them in their own category, inserting some welcome softness and subtlety into the genre.

Wrist is yet another excellent record from mainstream hard rock's only real hope.

In some ways the change in direction makes you feel closer to him than ever – especially if you can digest Impossible Soul, a 25-minute dissection of failed love at the end of this already lofty 75-minute charmer.

If you’re able to tolerate the graphic descriptions of rape, incest, drug abuse, dismemberment and felching (Google it), the reward is an incredible amount of introspection, and top-shelf production by Dr. Dre throughout adds to the replayability factor.

Stellar 12-minute opus 'Time Flies' teems with Pink Floydesque arrangements and moving lyrics, while 'Octane Twisted' offers up massive guitar riffage that you can bang your head to.

He’s a self-proclaimed lover of Cyndi Lauper and a proud balladeer with a knack for writing glimmering melodies.

Jesus Is King provides an undeniably moving and distinct new chapter in the book of Kanye. Whether you choose to skip it or place it high on your mantel, its cultural significance is only bound to grow.

The dizzying array of styles and themes always entertain, and D.R.A.M.’s confidence as both a singer and rapper allows him to pull these threads together.

The artful and relatable way Dawson writes about real life makes each song like a little individually wrapped gift.

Though melancholy, the album never wallows or gets stuck or even treads water, largely due to all the movement constantly happening in the vocal and piano lines. It feels like an exploration rather than a sealed-up document of the past.

Overall, Feel Good nails the delicate balance between experimentation and restraint, making the listener feel... great.

More importantly, though, the songs still totally fucking rock.

Newly installed guitarist Kiko Loureiro weaves blistering licks around Mustaine’s own, elevating the frontman’s sorta sardonic, sorta goofy politicized lyrics. Longtime bassist Dave Ellefson ramps up his low-end pyrotechnics, with Fatal Illusion boasting maybe the grooviest Megadeth bass line since Peace Sells.

Beam has managed to maintain some of the intimate charm of his home recordings by cleverly trading a conventional trap drum kit for hand percussion. It works wonders to make an elaborate production seem smaller and more organic while strengthening the music's rhythmic component.

It’s art school punk that you can dance to, which automatically makes Mi Ami more fun than most of their peers.

Ultimately, this is the same Radio Dept. we know, love and hardly ever hear from. We’ll take what we can get.

Gorgeously inventive.

Tears Of The Valedictorian is the band in top form, with Spencer Krug binding meandering tales of post-postmodernist artistic anxiety with wiry keyboards that echo Mercer's morphing vocals.

The insightful tunes are cleverly composed, with a sharp sense of wit and a comprehensive knowledge of the game.

Harvey sings with unshakeable poise, and her melodies are as sticky as ever--to the point where you can imagine some songs working as barroom singalongs.

They might've built their reputation on kinetic live shows, but taking the time to make a proper studio album has refreshed, revitalized and tightened their special sound.

The Swedes have stepped it up in the songwriting department.

Sequels rarely outdo the original, and despite The Game naming Kendrick Lamar his successor years ago, The Documentary 2 and 2.5 prove he's far from over.

A masterful, mystical interpreter, Oldham conjures a new mood for Death To Everyone, unfurls an intense lost original called Beezle, and strikes at the gospel core of Prince’s The Cross.

It has the bigness and accessibility of a major hip-hop album thanks in part to zeitgeisty guests like Justin Bieber, Future and Young Thug.

However varied the influences, there’s one thing the songs have in common: they all make you feel some type of way.

Girls continue to bypass fads by making timeless music about the universal themes of love, heartache and drugs.

It's got the same mix of mid-tempo power chords and slow-moving ballads, and the lyrics are just as thought-provoking and insightful as ever.