Bark Your Head Off, Dog continues the Hop Along tradition insofar as it is sharp, well-produced indie rock accompanying Quinlan's bold lyrical earnestness. This is the band's hallmark sound, so loyalists can rejoice. What is different this time around, however, are broader and more grandiose instrumentation.

There is familiarity here, but nothing feels routine. This is an album as cohesive and thunderous as it would have been if it had come out in 2014.

An Atreyu record is still very much about the feel, and this definitely feels like it's one of their own. Any of these songs could easily fit in alongside the material they have put out since 2006.

The result is a record that’s more cinematic, darker, louder, heavier and harder than anything we’ve heard from them before today, and frankly, I’m here for it.

It doesn’t aim to instantly satisfy unsuspecting listeners, dazzle newcomers, or alienate longtime fans; but what Unieqav does is craft a digital world sewn together by technology, biological information, science, and action. Engaged by the imprint of minimal techno beats and gliding melodies, the possibilities Unieqav promise are far from endless, but are indeed beautiful.

Burn Your Fire for No Witness’ eleven songs benefit greatly from the heightened sense of clarity afforded by the more spacious arrangements.

Because it's not composed of hundreds to thousands of samples like the others, each piece has to stand out on its own. The elements are no less meaningful, just larger. It takes a skilled hand to make any mosaic, whether you're working with large tiles or tiny pieces of paper.

In essence, this album sounds like Death Magic if Trent Reznor had gotten a hold of it. They’ve subverted the congenial elements associated with their last record to make some of the band’s darkest incarnations yet.

For those wanting Untrue levels of output, that album will forever be at your disposal. An album designed as worship has now entered that same vault of romanticized antiquity.

What truly makes Shell~Wave unique is the uncanny ability of its creator to imprint himself in the music, making some of the most machine-like techno around sound uncharacteristically human. This was the genre’s calling card when it was invented, and decades later, it’s still the thing that makes techno interesting and exciting. Surgeon hasn’t forgotten.

This is an album made by a bunch of dudes in their absolute prime, and while it’s easy for one to assume that the disparate styles being straddled here would make the LP less cohesive, it’s just not the case; Paradise Lost don’t lose an iota of focus or momentum in the making of this concise project – the scenario only serves to strengthen Obsidian’s case for being their most revered album for the years to come, and is one hell of an act to follow up on.

GNX is the sound of an artist stepping into their power and the newfound freedom that comes without have to prove a damn thing. It’s a several-victory lap long coronation that serves as the perfect capstone to what was already a legendary year that shifted the entire rap hierarchy with just a handful of songs.

The result is a smooth, glistening, experimental, and often powerful pop record – something Hayley has not necessarily aspired for before, but that she nails effortlessly here. [Review is based on the 17-track release]

Transgender Dysphoria Blues might be the most important album of the year, and its message will hopefully seep into music culture and spread till records like this don’t *have* to get made anymore.

This album is the first work by Kishi Bashi that feels like a mission, and it’s that same sense of purpose that drives Omoiyari to be the most beautiful and impactful piece of his catalogue.

If they’ve been treading water for the last ten years, then How to Solve Our Human Problems, Pt. 1 is the sound of them emerging--refreshed, invigorated, and ready to return to the hearts and ears of fans across the world.

Colored Sands is exactly what a Gorguts record should sound like in 2013 and will surely breathe for years to come.

If there’s any grievance worth mentioning, it’s that they’re probably capable of going even deeper with this sound, but for now, they’ve tapped into something special here, revealing themselves as masters of balancing unconventional songwriting with accessibility.

Dirty Projectors is back with a reshaped identity, serving up experimental/artistic indie-pop while retaining its penchant for eclecticism and unpredictability.

Deafheaven’s second outing is wondrous celebration of boundless ambition and pure artistic vision.

While Bleeds may not have the monstrous impact of Rat Saw God, it’s a truly glorious follow-up with just as many moments of brilliance.

Humble, modest, unassuming, and attentive to its runtime and the need to make a better song; in a year where Migos, “Mask Off,” and DAMN. have dominated the conversation, Big Fish Theory sticks out as the most consistent and well-versed rap album of the year.

There’s all the verve and naked empathy of the best of his classic rock forebears, with none of the bombast or contrivances. Lost in the Dream is a long record, to be sure, yet it never overstays its welcome.

We Are Chaos uses a pretty masterful balance of old and new sounds, similar to the way he integrated The Pale Emperor’s bluesy framework with his own ghoulish traits.

Confident and complex, it's a standout debut from one of the most promising artists of the last few years.

The fact that they still sound so visceral 32 years into their career is incredibly impressive, not to mention that this could very well be their best, most cohesive album to date. Into Oblivion is an album that shows off all the best qualities of Lamb of God and puts them all into one place.

Truth be told, it's the kind of album rappers should be dying to make: smart and sensitive, beautiful and brutal, uncompromising in doing exactly the things it sets out to do.

She’s always had a knack for writing both flashy and tender pop melodies, but on her latest album she knocks each number clear out of the park. It’s a delightful smorgasbord of all things Regina, complete with the richest selection of music she’s ever offered up on a single album.