Street Horrrsing is an intelligent, singular and original release with few flaws.

On Lift a Sail, we see a Yellowcard that is no longer holding back.

Phoenix is much more than what floats to its surface, and far greater than the sum of its parts. It's an album of stories.

In the grand scheme of things, I’m taken aback on how Thursday can still manage to spark my interest with each new album. Just when Thursday seems to stir in unfamiliar, unwanted territory, they manage to find a way to make it happen.

It's an exhausting listen, but what A Church That Fits Our Needs does so well is how it makes this loss palatable--the grief is real and heartfelt and sometimes overwhelming, but in its honesty and the warm instrumentation that Picker has mastered, it's thoughtful and all too easy to get lost in.

Both for Dulli as an artist, and me as a fan, the borders may be wider but the thrill remains the same - this is dark, cynical, sexy, and genuinely moving with it, and that's a combination potent enough to make this an outside bet for rock album of the year.

Maybe Today, Maybe Tomorrow is the band's best release to date.

And it does seem that way here[on this album], that Gold Panda has made some kind of discovery that will be looked back on in a few years time as a defining statement to the turning tides of dance music extravagance.

Pissed Jeans have polished up their sound as much as is seemingly possible and because of that they've crafted their finest record yet.

Motorpsycho raised the expectations bar so high and continue to hold it up there. You can only criticize small details, but overall, this is another excellent journey in their catalog.

Eat the Elephant is engaging, atmospheric rock done right with intelligent lyrics and ambitious themes.

Many listeners will hear Emery's heaviest album to date, while others will find it their catchiest. Some may enjoy the gradual come down after the initial blast, while the rest will believe it lacks cohesion.

In its very best moments, to me, Paracosm works as a stunning reminder as to why, perhaps, some of us find chillwave to be so uniquely addictive and therefore worth segregating from other forms of music: it’s a celebration of life, and a bitter reminder that our best days may have long passed us by.

Italian Ice is the product of a talented pool of contributors who simultaneously lift Atkins up while still allowing her tremendous vocals to remain the focal point. It’s the strongest album that Nicole has put forth – a gem that hopefully will not go overlooked.

Mean Everything to Nothing is an excellent record, but no better or worse than its predecessor. It’s just different.

Crash Love doesn’t demand the listener’s attention to the same degree as Decemberunderground did, but closer inspection reveals a more intricate and well-constructed album.

It’s easy to argue that this album represents Pratt’s peak to date. Without a doubt, the record contains some of her finest songs.

Brilliant.

American Slang is a very subtle step forward from The '59 Sound, conjuring exactly the same thrills from slightly different angles. They're still the archetypal blue-collar all-American rock band given an emotionally sloppy, musically slick post-punk makeover.

Despite avoiding it for a period of time, Yorke came through with his best solo album yet. He assuredly created a multi-layered horror soundtrack that serves as an engrossing confection of new musical landscapes in its own right while being essential to the film’s effect.

If there's one thing that defines Midnight Boom, it's the new sense of fun that The Kills seem to have discovered.

The album's production is without needless fanfare and benefits from it immensely. It allows the weighty three-piece to shine without trickery.

Aurally consistent, hauntingly introspective, and beautifully self-reflective in its just-over-a-half-hour duration, Don't Wait Up may not rewrite the hardcore how-to book, but it does showcase how to bow out gracefully, with nearly 20 years' worth of respect earned intact.

All We Grow is still a remarkable debut, a perfect companion for these upcoming leafy fall months, and a huge indication of really good things to come.

After nearly 15 years of middling releases, Parasomnia is a triumphant return to form – possibly their most creative, focused, and engaging work since Metropolis Pt. 2.

They might not be fracking new rocks with their sound, but for those in the know with ears to blow, it's manna from an alternate heaven.

Civilisation II is the more substantial and overall impressive release of the two, showcasing stronger hooks, more versatile songwriting and a delicious enthusiasm for synth pyrotechnics.

This thing is a beast. If nothing more, We Cater to Cowards has convinced me that I need more of this kind of noisy bullsh*t in my life. After wading through all this thick sludge, at least two showers will be necessary, but I’m in no rush; I’d almost forgotten how much fun it can be to play in the dirt.