It's a solid album by anyone's standards, and a real testament to Four Tet's unassuming mastery that he folds such a range of stylings together without any individual one going out of its way to announce itself as such (we'll forgive the geetar).

WORLD WIDE WHACK is just another example of how Tierra Whack is so good at carefully removing the barriers between vocal performances, genres, and even emotions that it always ends up looking like no trouble at all.

For as poor as Man of the Woods was, at least it was ambitious…unlike whatever this amorphous clump of hackneyed trends is.

The group tried something different here and it really works. Overall, ROCKMAKER stands as one of the group’s most cohesive LPs in a long time, automatically making it easier to follow through and digest.

While it certainly has a few weaker tracks, the core of the record is truly breathtaking to behold. It’s a moment of self-discovery and commitment to growth that eschews the lavish tendencies of Star-Crossed for something more personal, honest, and vulnerable.

His mastery of synths and the quality of his songwriting are apparent, but there also lies some regret that the album doesn't feature more vocals - Adigery's charisma and electricity sure helped Topical Dancer in that regard.

If Firepower was Judas Priest proving that they’ve still “got it”, Invincible Shield is them making sure no one else will steal their crown. Plenty of veteran classic metal acts are kicking around to this day, but none of them (not even Iron Maiden) still sound as vital, fresh, or vibrant as Judas Priest.

eternal sunshine, at 35 minutes, doesn’t leave much of an impression, its titular statement of pretty regard for memories lost and time regained ultimately registering not as a platform for yearning nor as a vehicle for regret nor as ironic joke nor social commentary but as the broadest possible thread of aesthetic inspiration for pretty regard for such immaterial concepts as memories, time, gain, loss. The songwriting is the main culprit

Norah Jones may be the same artist who sang “Don’t Know Why” on the beach 22 years ago, but that doesn’t mean she hasn’t taken steps to advance or update her core sound. Visions is solid proof of this.

It's a shade overlong and overuse of certain choruses dampen the calculated effect of a few songs, but these flaws are barely noticeable when set against how gut-punch raw and earnest the writing is.

While the 80s are a well-trodden playground, Girl with No Face proves there are infinite ways to make old ideas new by contrasting them with the now.

Bleachers ends up being all the worst fears of Jack’s career path made manifest, as any semblance of uniqueness is sanded down in favor of Christmas Special-quality cameos to remind you just how strong his LinkedIn profile has grown.

Lots of artists aspire to create an album which matches the zeitgeist (easier said than done), but Mountainhead comes a lot closer than most. With its paranoid and sinister belly coalescing with the joke-y casualness of its exterior, this is yet another successful record from one of the quintessential bands of the internet age.

A bit more focus on expanding the sound, might have created a more encompassing atmosphere at least. So, if you want a handful of new Ministry tunes to head bang to, you can find them here. If not, maybe next time.

The Pineapple Thief remain stuck in a rut, delivering more or less the same record as before. Maybe going metal or full prog will yield better results in the future. Unfortunately, It Leads to This turned out only marginally better than the previous LP. They can do better, so a more drastic change of direction might be helpful next time.

We’ve come to expect more than inoffensive, lukewarm indie-pop from these guys. MGMT should save that for the thousands of other indie bands out there that all sound exactly like this, and go back to the stupidly fun and unpredictably bizarre music that most of us fell in love with.

Grandaddy’s latest feels slightly remote but wholeheartedly nostalgic, the synthesis of deeply personal loneliness and some kind of cosmic greater meaning, and all three of my theories seem perfectly suitable. Weary but still imbued with plenty of heart, Blu Wav is all you can ask for as the return of Jason Lytle’s long-running indie project.

Daniel delivers the twofold triumphs of, first, delivering satisfactorily upon the band’s original talent for hooks and vibe, and second, demonstrating enough variety to suggest that Real Estate doesn’t intend to forever languish in their comfort zone to diminishing returns. I’ll take it.

IDLES wanted TANGK to be their Kid A, but they ended up delivering their Tranquility Base Hotel Casino.

They sound and act unlike many of their contemporaries, and seem preoccupied with carefully carving out a unique space in the modern indie scene to inhabit. It’s a fun space, regardless of how you may get there - and I’m glad to be here.

It’s a triumphant rebirth, pulsating and healing dark energy that feels inspiring and genuine.

What Do We Do Now is a smörgåsbord of everything we have come to expect from a J Mascis project, and while a multitude of listeners may find themselves clamoring for fresher ideas or a deviation from his tried-and-true formula, it is borderline impossible to listen to the indie rock legend’s latest output and deny that they got what they came for.

Blue Raspberry sees some extremely slight but thoughtful experimentation from Kirby. A playfulness that, on the one hand, gives greater depth to Kirby's music—or otherwise make that depth more obvious to the shallow listener—but also, on the other, reemphasises to you—to me—just how good, how delicate, how thoughtful a songwriter Kirby really is at her core.

Sadness Sets Me Free is a truly consistent affair, one of the most pleasant Gruff presented us to date.

If A Light for Attracting Attention felt like a perhaps unnecessary but strong redux of a Radiohead album (A Moon Shaped Pool, specifically), then Wall of Eyes feels like an album Radiohead never made here on Earth, even if they could’ve conceivably done so in an alternate dimension. That’s progress.

Dark Rainbow is the sound they’ve been chasing for five years now, and while it’s not perfect, and lacks the raw edge their earlier works were so good at, it’s definitely a sound I can get onboard with.

Somehow heavier but feeling lighter than they have in years, meeting your gaze not with a self-deprecating shrug but a grimace and a snarl, Blood, Hair, and Eyeballs is a perfect sendoff to one of pop-punk's finest drummers and a victory lap for one of the genre's best acts.

If Ummon felt like floating adrift in space while cosmic rays fried your soul, Ilion is the transition to a plane of existence beyond the cosmos. Ilion doesn’t exist in this universe anymore, and neither do you.