Fin is a mature, if slightly restrained debut.

This album scales back significantly from the relative bombast of the grand Poison Season in favor of a more intimate, simple setting. Stranding himself nearly alone--aside from longtime collaborator Josh Wells--Bejar hunkered down to record the simultaneously unconcerned and emotional splash that is ken.

The stripped down feeling of the record works to Islands favor on each of SIRHAS's ten tracks.

Views, made up of twenty polyrhythmic and eclectically curated tracks, is Toronto's ethos and identity in sonic form, an inside joke between Aubrey Graham and the city he's championed since the start.

Twerk-inducing and loud; 'Goddess' is the game-changer for Iggy Azalea and the glistening cherry on top of the immaculately produced, lyrically creative gem that is The New Classic.

There are times when the album feels like it starts to tread the same ground, but there is also sign that Jungle have it in them to do things that are different.

Leaving themselves with no room for filler, the band set out to deliver on the promise of their singles, and we're thrilled to report that they've succeeded. Stardom beckons.

By starting from scratch and going in with aim to create something that is a direct reaction to the onslaught of modern music, Hemsworth has created a piece of music that lives in an environment of its own making.

The result is dense, hard to categorise, and an exhilaratingly beautiful work full of blinding light and doomy shade.

Real High is a considered, mature statement for Nite Jewel.

Ben Frost has pulled off something quite remarkable with A U R O R A in making a record that's pretty terrifying in places yet so utterly irresistible.

This album is never afraid to speak its mind and voice its elastic relationship with love, pulled close only to be pinged apart.

For now, we’ve been gifted a damn fine collection of songs and we would be remiss to not soak them in.

A$AP Rocky has always been an innovator and his creative attempts have always been bold. At.Long.Last.A$AP is no different there.

Vagabon is clearly searching, and she's managed to create something of a shelter for all of us within her new work. It's difficult to listen to Vagabon and not feel at home.

This is the most rewarding album from the project yet, as it only seems to unfold further and further as you delve deeper and keep replaying.

It may not be perfect but it's another solid release from a project that even after all these years still has plenty of promise coming from all sides.

In Better Oblivion Community Center, Oberst and Bridgers have made a true collaboration, finding a middle ground between their experiences and styles that is truly fertile. All of this is to say that the surprise of Better Oblivion Community Center may only comprise a few genuine surprises, but even what’s predictable about it is utterly lovable and well worth your time.

Compactness aside, the tracks here don't give up on lyrical imagination.

With Hope Downs, Rolling Blackouts Coastal Fever have adroitly taken their trademark sound and expanded it into a thoroughly enjoyable album--and they’ve done it in rapid time.

What it sometimes lacks in immediacy and depth it makes up for in a number of moments of genuine transcendent beauty. Not the definite article then, but increasingly the real deal.

Their homemade studio occasionally shows its flaws, but this is simultaneously heartening. King Gizzard are easy to forgive and fun to like, showing that it’s more than a record about reliving psychedelic music’s prototypes.

Though it offers only one "new" song, Pond Scum freshly adds (even more) depth to the Bonnie 'Prince' Billy cannon as if it were another studio album.

Painted Ruins is the result, a natural, unhindered expression, an album made for the audience they already have.

Gang Signs & Prayer is as insightful as it is extravagant, gracious as it is haughty, and divine as it is gritty, which is both a blessing and a curse depending on whether or not you were looking for more gang signs than prayer.

It demands your attention, grabbing your head by the hair and forcing you to listen.

Based solely on intuitive improvisations between musicians, he has produced an engaging interpretation of the ominous air and electricity Schipper creates. Victoria, and its music, seizes the beauty and terror we find within those moments when we throw ourselves into a new, uninhibited context.

I Don’t Run can be misread as an album of fun alternative rock songs, but under the surface, it is so much more. Every instrument feels perfectly in place to create a wide range of songs. Varying emotions and a distinctly more mature Hinds.