For all its dimensions and progress, the album is simultaneously designed to ensure that devoted fans will feel the wait was worth it.

The mix is somehow both spacious and full, with each instrument clearly audible at all times, yet making up one part of a majestic whole. This is a great psychedelic hard rock album, only occasionally returning to the sludgy metal of Kylesa's early releases.

Liv.e's growth as an artist has been remarkable, and the vivid self-portrait Girl in the Half Pearl is her most impressive work so far.

The Agent Intellect is an album that challenges both the mind and the body; if you're looking for further confirmation that Protomartyr are one of the smartest and toughest bands of their day, this album is what you need.

An absurdly emotional, innovative album.

This recording seems a vital one, and time will tell if the musical is a watershed in big-budget musical theater.

Mausoleum is a rare recording in that its appeal is vast.

If it's more of an archival release than a necessary one, it's very listenable and catches an eccentric, odd little band of three fine songwriters doing that thing they did--and that they still do.

As a thematic mood piece, Panhandle Rambler hits its mark squarely, and the songs themselves are of the consistent high quality listeners have come to expect from Ely who, for reasons unknown, still seems to be one of Texas' more underappreciated exports.

This "calm before the storm" aesthetic dominates Rook, and in another testament to its short running time, works beautifully, illuminating the few straightforward pieces like "Century Eyes," "Leviathan, Bound," and the brooding title track like a centuries-old woodcut, and allowing the tension that permeates the entire affair to ebb and flow naturally, resulting in one of the most heady and satisfying albums of the year.

Runaway's Diary is the rarest kind of concept record: one that wears the seriousness of its topics like a light jacket, and whose inventive musical savvy counters the restlessness of the soul at its subject's core.

It's easy enough to be moved by Edwyn Collins' recovery and continued progress; he's truly an inspirational figure. What his continued presence in the recording studio even more wonderful is that his albums keep getting better and better too; deeper and more fully colored and nuanced both in melody and sound.

Thanks to the caliber of players in the new James Hunter Six, he is challenged and supported in equal measure. While Hunter may be unapologetically retro in his inspirations, he is unrelentingly modern in his use of vintage music; for him it is ever present in the music he makes, and that's the exact opposite of being nostalgic.

He openly draws from history but situates his original music expansively in the here and now; his many stylistic referents combine in new ways to offer a stubbornly holistic, emotionally resonant, and visionary approach.

Weather Alive nestles into a comparatively hushed, atmospheric blend of acoustic and electronic timbres that's meticulous and nebulous at once.

DeMent's acute sense of humanity remains her greatest asset, and it has rarely sounded so graceful as on this wonderful set of songs.

3TEETH harness that frustration and helplessness, creating cathartic sonic therapy for anyone at their wit's end wondering if the planet will still be spinning decades from now. Thrilling and depressing, it's another wake-up call for those who aren't listening.

Simon seems at peace on Stranger to Stranger, acknowledging the twilight yet not running toward it because there's so much to experience in the moment. He's choosing to push forward, not look back, and the results are invigorating.

Party Music doesn't really break much new ground for the Coup; it's more a consolidation of their strengths, touching on a little bit of everything they've done well in the past.

Life... showcases a band that has carefully refined its sound, creating an album that is daring and experimental enough for longtime fans, but accessible enough for anyone looking to discover one of Athen's heaviest bands.

It's steady growth all around for these fine Canadians who keep showing up with buckets of great material.

While not always an easy listen, the album shows more of its intention as it goes, and ultimately makes sense as the next logical step forward in Lamar’s increasingly multi-dimensional artistic evolution.

While it shares sheer ambition with Scott Walker's The Drift and PJ Harvey's Let England Shake, it sounds like neither; Bush's album is equally startling because its will toward the mysterious and elliptical is balanced by its beguiling accessibility.

Way Down in the Rust Bucket isn't one of the more revelatory items to emerge from Neil Young's archives since he began major excavation in the mid-2000s. However, for those who consider the joyous stomp of Neil Young & Crazy Horse rock & roll comfort food at its best, this is a feast to savor, a long and rollicking celebration of the pleasures of turning up the amps and inviting in the spirit.

Sakamoto died two months after 12 was released, and being aware that it was his final work adds emotional weight to music that appears fragile and delicate.

Fox Confessor Brings The Flood is a rich, mature and deeply satisfying piece of music that deserves and demands attention -- if this isn't Album of the Year material, it's hard to say what is.

On the whole, these aren't the boldest reimaginings of her songs that she could have delivered, but it makes for an extremely uplifting listening experience that works as a lovely placeholder until her next album--and as a calling card for anyone unlucky enough to not already be familiar with Weaver's sound and songs.

Far from being the second coming of Dylan, Oberst is as precious as Paul Simon, but without any sense of rhyme or meter or gift for imagery, puking out lines filled with cheap metaphors and clumsy words that don't scan.

Iit's the assemblage that delivers the difference, and that's enough. Given its relative brevity, it's among the few albums in their catalog that doesn't leave the listener exhausted (not a bad thing by any means), but wanting more.

This volume charts Jansch's development as a songwriter as well as an interpreter who remains devoted to his roots while restlessly expanding the reach of his oeuvre This music has aged exceptionally well.

New Brigade is charmingly underdeveloped, slapdash, and direct--in other words, absolutely thrilling.

Compared to the impressive and occasionally brilliant Venice, this album's mix of high and hard times has deeper resonance.

Silver Ladders doesn't require close listening to locate its emotional currents. It's a gorgeous immersion in loneliness, solitude, and perseverance that immediately sets a mood and could soundtrack the entirety of the colder seasons.

He's merely living in his time and reporting, returning with an album that's vivid, vibrant, and current in a way none of his peers have managed to achieve.

Ever-Roving Eye plays like a logical and slightly more daring sequel to his debut, moving forward into loose psychedelic shapes with pastoral chamber arrangements -- courtesy of woodwind player Paul von Mertens -- dotting the otherwise sparse landscape.

Both a reflective sound bath and an ecstatic celebration of creative freedom, Space 1.8 is a singular, eye-opening debut.

Here, the sad sounds aren't quite so soothing, but that human element of Portishead gives them a sense of comfort, just as it intensifies their sense of mystery, for it is the flaws--often quite intentional--that give this an unknowable soul and make Third utterly riveting and endlessly absorbing.

Don't Give Up on Me leaves no doubt that Solomon Burke is still one of the finest voices of his time, and anyone who has ever been moved by the power of soul music needs to hear this album.

Easily the most satisfying Songs: Ohia album since Axxess & Ace.

A delicate, contemplative union of indie rock, country, and electronica.

Dreaming in the Non-Dream is the sound of Forsyth and the Solar Motel Band breaking into the muck and mire of rock history to emerge with a communicative, dynamic language of their own design.

Another triumph, Mandy reaffirms his mastery and hints at how much more he had to contribute.

A triumph in its own right, I Inside the Old Year Dying's lively exploration is also a rekindling of something vital in Harvey's art in general. Though its whispers and shadows may not reveal everything, they're more than enough for a fascinating listening experience.

Overall, even if Central Belters doesn't include every definitive Mogwai song, it's still a comprehensive portrait that captures the nuances of their sound over the years.

Daddy's Home takes time to unfold in listeners' imaginations. It's much more of a mood than anything else in her body of work, but its hazy reconciliation of the good and bad of the past makes it as an uncompromising statement from her as ever.

Spoon's most mature, accomplished work to date and a fine balance of fire and polish.

Sure, Truth, Liberty & Soul is for the Pastorius fanatics, but it's much more: this fantastically recorded document is a treasure trove of modern progressive jazz.

West and Brion are a good, if unlikely, match.

The Impossible Truth is more accessible than Behold the Spirit, but it is easily as adventurous, taking hold of places, spaces, and sounds, reimagining them and altering them just enough to make the entire recording sound at once immediately familiar and somehow wholly other.

Relatives in Descent manages to sound more thoughtful and introspective than 2015's The Agent Intellect without sapping the strength of this great band; quite simply, as a bit of record-making, this is Protomartyr's most impressive accomplishment to date.

Stay Positive is the most sophisticated and erudite THS have ever sounded, and that's a mixed blessing.

The performances are vibrant and full of personality, heartbreak, and spirit.

Very much a product of their time, Brockhampton absorbs what they need from across genres, sharing honest confessions from their varied personal backgrounds (the most striking provided by group leader Kevin Abstract) and reflecting its mixed audience as a voice of their generation. Brockhampton have seized upon this defining moment with Iridescence, a defining peak in their young career.

Greatest Hits isn't arranged chronologically, which isn't a detriment; if anything, skipping through the years emphasizes just how consistent the Foos have been, always delivering oversized rock & roll where the hooks are as big as the guitars.

Each of these albums is full of Cooder's superb, goose pimple-inducing guitar work and rich musical thinking, but given how impressive his film work has been, Soundtracks is a fine collection but ultimately something of a disappointment.

The record may be a step below his best work with the Strands and Shack, but it's not far off and the album is a wonderful slice of modern guitar pop songcraft.

To All Trains is almost certainly the final Shellac album, but it isn't a maudlin curtain call. It's a document of a happily uncompromising band living out their vision and loving their art, and on that level, it's as good a place as any to appreciate their (and his) singular brilliance. And it rocks.

Altogether, the contributions of long-term Sullivan associates like Harmony, Salaam Remi, and Ant Bell, along with those from Key Wane and JoeLogic & Dilemma, give the album a relatively contemporary feel. Just as potent and lasting as Fearless and Love Me Back, Reality Show completes one of the most impressive first-three-album runs.

In less than a half hour, Curry establishes himself not only as one of the most capable and exciting artists of his generation, but also worthy of a place in Miami's rap pedigree, right alongside the local icons who inspired this gem.

The overpowering guitars and relentlessly complex song structures that make up the majority of the album feel more like the sounds Hanson makes with Wand than something unique to his solo iteration, but he shares some new windows into his wonderfully mystifying psyche all the same.

That Nirvana sound forceful isn't a surprise, but they also sound surprisingly tight--a little bit looser than they would sound within a year, but they're clearly marshaling their forces, gaining strength and skill.

All My Heroes Are Cornballs manages a mellow, even reserved instrumental tone without losing any of the scathing social commentary or frenetic energy that defined earlier work. If anything, the album is more intense, hiding biting and bilious (and often surreal) lyrical threats beneath a deceptively low-energy facade.

These soft, slow songs are surrounded by cuts where the darkness opens up slightly but significantly. It's enough to make Sleep Well Beast feel like a dramatic departure in the close quarters of the National's discography.

Organic as dirt, and full of an acidhead's sense of space, this one's a winner from start to finish.

Magnolia Electric Co. may not be the best Songs: Ohia album, but it is certainly the most approachable. It has a big, open feel certain to appeal to any classic rock fan, but retains the warm intimacy of previous albums.

Despite the fact that it seems more like a bunch of songs on a disc than a singular body, its impact is substantial.

These lost recordings represent an amazing mother lode to any Can enthusiast and certainly should hold more than enough interesting moments for even a curious new listener.

Dauwd takes more risks on this album than on his prior releases, and it ends up being his most rewarding work yet.

What really makes this collection worthwhile is how these robust performances put the lie to the notion that acoustic Neil is sad, sensitive Neil.

She's channeling her own experiences so they speak to the universal, just like the classic soul she loves. The result is an extraordinary record, one designed to be part of a grand musical tradition, and it contains enough emotion and imagination to earn its place within that lineage.

Tracks like "Clash," "War," and "Bomb" all maintain battle imagery, in multiple senses (musical, political, personal), and Fire as a whole is steadfast in its fury and perseverance.

Their rapid growth is as head-spinning as the songs themselves, lending a triumphant air to Comfort to Me that keeps Amyl and the Sniffers primed and ready to conquer the world -- again.

Un Verano is not only a seasonal statement-piece but a testament to Benito's singular songwriting -- across genres, generations, and even languages, he works to produce enduring landmarks that trace universal joys, sorrows, and passions.

At this point, a Pretenders album is whatever she says it is and Relentless is a good one.

Nitpicking aside, the risks they take on this album pay off: I See You is some of their most captivating music since their debut.

Although this monochromatic palette tends to highlight the limits of co-producer Jack Antonoff's bag of tricks -- nothing here feels surprising, even when he's playing with textures and teasing out the music's dream-pop elements -- the narrow focus is the main attributes of Midnights, as it plays to Swift's sense of control and craft: she may be singing about messy emotions but she sculpts those tangled feelings into shimmering, resonant songs.

Ordinary Corrupt Human Love isn't going to change detractors' minds about Deafheaven. Instead, with its searing depictions of emotional and spiritual struggle in a relentlessly ambitious musical presentation, it should attract a new legion of listeners as well as deliver assurance and solace to those who found their earlier records so compelling.

Other songs like the sea-shanty-goes-Jacques Brel 'Italialaisella Laivalla' and the more openly indie-pop 'Tytto Tanssii,' with its guitar lope and synth-horn break floating over a softly rumbling cloud of melancholic, echoing textures, further add to the understated but enjoyable variety of a fine album.

On Helplessness Blues, he's just as interested in the landscape of the human heart. Still, it's the music that stands out, and the band's acoustic folk/chamber pop combo makes every song sound like a grand tribute to back-to-the-land living.

Mezmerize doesn't fail to be unique.

If hip-hop had existed in the days of the Filmore, Woodstock and the Electric Kool-Aid Acid Test, Edan would have been right on the bus.

Though not as "experimental" as their previous couple of records, as a whole Purple is far more focused, and it's certainly more euphoric.

The dense and shrouded nature of this album means you sometimes have to wait for the clouds to clear before certain lines resonate or choruses grab you, but once they do, they don't let go.

This focus on ambience really makes Sky Burial feel like it exists in a very specific, and very secluded, space, and while you probably wouldn't want to live there, it's amazing to visit.

While that may disappoint some waiting for a masterpiece, there's no shame in mining the same ground as long as they make records as tight and tuneful as this.

The forceful sound of Girl Going Nowhere may camouflage the subtleties of her songwriting, but it's also an asset, as the production, along with her powerhouse voice, demand attention.

His hardcore following will no doubt celebrate it abundantly. Given its willful indulgence, however, others may find it a tipping point in the other direction.

Part experimental rock, part electronica, and part hip-hop, Subtle's For Hero: For Fool is a complex, innovative, sometimes bizarre, and usually utterly confusing journey into the minds of lyricist Doseone and his five bandmates.

Though some of the songs here, especially the earlier ones, can be quite simple, even raw at times, there's a sad, clean sweetness that comes through despite the occasional bit of tape hiss, of tinny chords.

Juxx seems to have benefited from Sean Price's mentoring as he works a perfectly cadenced flow and manages to maintain a high energy level throughout the LP. Still, the most exciting moments on The Exxecution come when Juxx's Duck Down elders stop by.

An immediately engaging debut, Seasons of My Soul has the potential to repeat the crossover success of Norah Jones' Come Away with Me and Amy Winehouse's Back to Black, its unquestionable authenticity signaling the arrival of an equally timeless and unaffected voice.

It is interesting to look at the epic, ambitious group by their attempts to cross over, and while not all singles were as worthy as the album cuts, this alternative view has some massive high points.

A wild work of twisted genius and more fun than rabies, that's for sure.

Chris Cornell is a reverential capstone that charts the tortured artist's highs and lows, providing an ideal first step for anyone wishing to dive deeper into the impressive catalog of one of rock's loudest and most emotive voices.

Patience provides the most inspired-sounding one yet. It's just more proof that despite not being the flavor of the month anymore, Sondre Lerche is quietly releasing some of the best and most interesting pop music of his era.

The Drift isn't an equally severe leap from Tilt [as Tilt was from Climate of Hunter], but it is darker, less arranged, alternately more and less dense, and ultimately more frightening.

Horseback makes extreme underground music from the mysterious South; this compilation is the indisputable proof.

There's a bold stroke of genial Southerness that runs through the music and keeps things tempered, honest, and effortlessly authentic, despite a predilection for eccentricity.