Will is a triumph--it takes the kosmische regurgitations of Oneohtrix Point Never, the choral, almost religious feel of early Julia Holter and the relentless thirst for finding the new in the old of The Caretaker to make an entirely new statement.

Whilst it makes for an interesting record, it does mean that it always ran the risk of dividing opinion. The album is however, not without its highlights and for fans of shoe gaze, post-punk, or noise rock in general, it's well worth seeking this record out and letting it consume you.

The differences are subtle, and calculated steps as opposed to humongous leaps, but they achieve bright results--it's like the relationship between butterflies and hurricanes.

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.

Whilst sounding altogether more psychologically and sonically cluttered, the challenges this album presents are as invigorating as its rewards--poetic beauty can still be found amidst the lysergic confusion.

As Plantas Que Curam provides an interesting contrast--making us realise they've chilled-out and don't seem as interested in frantic neo-psych as they seemed to be in 2013. Manual is mature, engaging, and will prove to be--I believe--much more durable in its relevance to Boogarins' musical heritage.

Fallen Angels is cast in a wistful glow that is hard to resist.

Love Hates What You Become is an endearing album that earnestly cares about our generation and is admirable because of it.

The results are unmistakable. Over V's 31 minutes, a listener could theoretically skip to any track and find themselves carelessly dancing into the void with the joyous, raucous tracks that Wavves has meticulously created.

Glover has delivered an inter-generational, retro-futuristic 11-track history lesson on the healing and inspiring qualities of funk.

Much of the album treads familiar ground, not only to long-time listeners of Fort Romeau, but for any fan of the more minimalist side of House.

Dear is an album so monstrous, so monumentally loud that you can do nothing but let it consume you.

While AFI (The Blood Album) may not have the mainstream crossover potential that the band enjoyed a decade ago with Sing the Sorrow and DECEMBERUNDERGROUND, it is still a highly enjoyable album that both diehard fans and anyone looking for massive rock hooks alike should enjoy, despite faltering a bit toward the end.

The Endless Shimmering is such a relief to listen to. It’s not just a correction for the band, it’s also a redemption and a potential catalyst for an exciting new stage in their career as instrumental rock leaders.

Reduced to his own devices, our gentleman hero has crafted both the most intrinsically soulful, emotional, and heartfelt record of his career. No less, he's delivered on one of music's greatest archetypes--and with aplomb.

The album closes with appropriately titled 'Come Down', a sparse and intimate song with earnest vocals and harmonies that ease the reader out of an intoxicating album-induced daze.

Ghosts Of Then And Now is a rich and dynamic listen, threaded with a strong sense of purpose that's wonderfully engaging.

Everything on Eden more or less works, though it’s a definite step down from Ephorize.

This LP is clearly the product of four immensely talented musicians with a clear vision of asphalt soaked in rain and asphalt, the fears of death reflected upon by shining a flashlight through a hazy, ominously beautiful mist.

Things may have to dismantle a bit after Fever's stunning mastery of the current setlist, but fans will always have it to look back on the energetic high point of the band's time with its current lineup.

L’Orange L’Orange doesn’t exist in one place or detail specific events, which is to say it’s a fine contrast to the 21st century’s culture of volume. It simply is, and that gives it grace.

The band still show the glimmer of potential they’ve always carried, and it’s nice to know that consistency is possible with the band. ‘Doctor’s In' ends with an abrupt fadeout, and your memory of Tasmania can depart at a similarly unsatisfying rate.

Across the sixteen tracks that make up this entire project they’ve by and large avoided the awkward moments that have made listeners cringe on previous releases, they’ve finally nailed how to produce and mix Reznor’s voice so that his still somewhat heavy-handed lyricism doesn’t distract attention from the considerable craft that’s gone into the music, and they’ve found a way to organically explore new sonic avenues which mean that, while Reznor might feel like he’s trapped in a loop, doomed to continually find himself back where he’s already been, Nine Inch Nails are no longer simply repeating themselves.

By no means is Infest the Rats’ Nest the best ‘heavy’ album of the year, that honor is shared by Lingua Ignota and Baroness. But it’s not crazy to suggest that Infest the Rats’ Nest is one of the most valiant efforts of 2019, one that has only furthered the wondrous mystery of Melbourne’s beloved band.

With Action Bronson, he's continuously put out solid bodies of work, whilst never compromising his character. Mr. Wonderful may not be the strongest debut he could've released, but for a rapper that probably doesn't measure his ability by studio albums, neither should we.

Feeling comfortable is not something neo, and by extension So Pitted, is concerned with. Instead, exploration of the darkness and sickness of life are the key drivers and if neo is any indication, it is pretty compelling material.

The joyous moments continue to come thick and fast as you work your way through The Voyager.

Look Up Sharp is a defiant, singularly challenging work, and it infinitely rewards those bold enough to venture into its maw more than once.