It's not often that a songwriter comes along that not only gives his listeners a chance to view the inner workings of his soul, but is also able to express his own situation so clearly and in a way that resounds so personally to everyone in earshot.

Instead of rhythmic exploration Braxton is working with a variety of harmonic and melodic developments and in doing so has made a refreshing and similar counterpoint to 'Mirrored'. Central Market may not be as calculated, but it is more fun and in general more easy to digest.

Ohnomite is another solid addition to a growing, consistent discography.

Overall, All Visible Objects acts as a love letter to the early ‘90s techno/trance/rave scene, albeit in a pop-instilled way. Moby pays his respects to the respective era, blending various sounds from his discography into what plays like a smoothly sequenced, nostalgia party mixtape.

All of these tracks are listenable and easy to digest- some are just notably better than others.

Be it the lush, massive hills of Ireland or her genuine gratitude to just breath fresh air, The Two Worlds seems conjured up from the musician’s most isolated, profound moments. Lucky for us, she’s been kind enough to share them--and man, what gorgeous moments these are.

Fans will debate whether Failed States tops previous records, but certainly meets the standards the band has set for themselves.

Cupid Deluxe is by no means an imperfect record, but it is still a powerful reminder of how grossly underrated Dev Hynes is as an artist in his own right.

Air is a masterpiece of production and gives the best few tracks from the entire collection. Earth is a cool-down lap after the more developmental and progressive preceding discs, showing a Thrice that is willing to trade in all that has made them great during their niche period (1999-2004) in favor of pursuing a less challenging but equally viable sound

So good are these songs that you don't realize they're all sort of the same until you've gone through, like, seven of them, and even then it's difficult to fault DIIV for sticking to one sound since they do it so well.

The band sounds fresh from their rest, aren't trying to be something they're not again, and most importantly, they sound young and sincere. Welcome back, Yellowcard.

CHAOS NOW*? Boasting highly energetic rap/hip-hop, acoustically-driven indie-rock, grunge with stadium-sized riffs, and melodic hooks that will invade your mind for days, CHAOS NOW* seemingly has it all. Despite sounding as though it could be too eclectic for its own good, Dawson seamlessly integrates all of these styles into something dynamic and insanely fun.

Adroitly oscillating between creepy and seductive, the album makes for a ravishing piece of occult-rock revival that draws from its retro influences with great artistry and aplomb.

Basically, Black Clouds & Silver Linings is an album that continues the band’s increased use of metal riffs combined with extended musical interludes but also brings in strong compositional skills that give the songs the kind of consistency they require in order to be truly memorable and engaging.

Lamentations keeps you on your toes for its expansive, one hour time span. Even after multiple listens, the layers keep unfolding. William Basinski delivered one of his finest records by choosing to fragment his creative flow and explore dark ambient territories.

The Stage Names, despite being dense, is rarely difficult and is probably the band's most accessible effort to date.

Hammer of the Witches is the post-Midian release fans have been asking for while retaining the riff-oriented sound the band have been attempting for the past 15 years--only this time they’ve actually pulled it all off.

In short, Wish on the Bone is an excellent album, whether your preference is more on the indie rock or the alt-country side.

Because this album sticks so memorably, so unwaveringly brightly, it's useless to resist it. The only thing to do is love, and so I do.

It’s the LP’s sense of cohesion, achieved despite its sonic variety, which makes Hour Of Green Evening a triumph. A measured triumph, but a triumph nonetheless.

Gorgeous melodies are ubiquitous, and seemingly every moment has been carefully crafted with immaculate attention to detail.

The pairing turns out to be ideal - Sparhawk’s voice and presence maintains the kind of somber elegance he’s always had, while Trampled By Turtles provide a rustic backdrop which not only fits the material like a glove, but adds a world-weary sense of depth.

TBD, on the other hand, wrangles with value-laden mindlessness in a manner that is both fun and endearing. TBD succeeds, in other words, on the merit of its recontextualisation of current trends into a project that is equal parts soapbox and sellable product.

At times, it can be a difficult piece of work and its dark themes may require a few spins to grow on the listener. Irrespective, Drums and Guns is a fine piece of work, Low's best since Things We Lost in the Fire.

Born Again is easily one of the best indie-rock/dream-pop debuts to come out in years. Siggelkow’s firm handle on her sound is genuinely remarkable – it seems like she’s been doing this for decades and that Born Again is the album that finally ties it all together.

They are heavier, and denser, and overwhelmingly less instant than their predecessors, as cloaked and finely adorned in all manner of bright, shiny synths as they are, at times almost crushed under the weight of an ambitiously flamboyant band. But these are still Phoenix songs, and by the end of a dozen listens they are as urgent as ever.

No matter which extreme you believe it to favor, Endgame sees Rise Against as fiery, passionate and motivated as ever, when it comes to their wide-reaching social commentary.

Themes for Dying Earth is fragile, beautiful to behold, dazzling at times, and easily one of the best surprises of the year thus far.