The evolution is slight but impressive, and worth taking note of.

Despite some sugary moments, Dalliance, mostly ringing with fizzy excitement, is nonetheless a record that toes the line between bitter and sweet lonely dude moments.

Mainly, the band locks into grooves and reigns in some of the cackle of earlier releases, while wisely drunk-dancing in the under-four-minute mode.

It cannot be denied that this album can’t help but fall short of the previous two records’ effect, given the massive quantity of pioneering moves captured in those albums. Nonetheless, whether or not Fucked Up can see it, they’re still doing the music world some good.

Written and recorded herself, Are We There, her fourth full-length, is a Sharon Van Etten record through-and-through.

Pallett’s vocals that move from soft quiver to full tenor on the title track. And when paired with his simple pop tendencies, the intricacies are easy to absorb. All you have to do is listen.

The Moon Rang Like A Bell is both subtly understated and completely overstated.

Taken as it is, this is a great summer’s coming album, the most fresh guitar pop record of the year, though it might be a bit too bright at times.

Dark Arc’s unique sound is a team effort of acoustic instruments, raw talent and the life that comes from breathing the fresh, crisp, if sometimes foggy mountain air.

Not exactly a massage, but a wind-down from the tumult that is Ultima II Massage.

III is an album so methodically arranged yet lawless at times that even its more flatlined moments play an integral role in its rebellion.

Every track on this album is relatable and takes us on an emotional journey through the steps of a breakup, which in Li’s interpretation seems to be frustration, pain and ultimately loneliness.

While the lyrics have always been one of the main highlights of every AJJ album, the ridiculous level of the lyrics on this one might stretch the tolerance of even the most dedicated fans.

At certain points in Nikki Nack, like the track Manchild, her quirkiness feels out of reach, but it always comes back down again to teach you a little something about life, love and letting creativity shine through.

What makes Arcadia stand on its own is the slight, simplistic tweaks and unexpected syncopation that Polachek uses to infuse the album with an almost apocalyptic sense of silliness and childish wonder. It’s exciting to listen to, but at the same time vaguely unsettling.

Indie Cindy delivers a relatively gratifying 12 track-journey that, at the least, yields some classic-sounding Pixies tunes.

Everyday Robots, unfolds as a sleepy, melancholy culmination of all Albarn’s work so far. And if sweat still isn’t showing, a little distress is.

Shriek is a refreshing dive into the ambiguous depths of the indie-pop pool, made possible by two musicians who have shown great conviction in revamping their sound without ditching the fundamentals that have made them such a powerhouse.

Though the pure, dripping niceness of the album can start to feel dusty after a while, the constant effect of washing prevents that.

No matter where TEEN decide to turn, they have to be commended for their creativity in conceiving such an other-worldly record.

A middle ground is still to be reached, but at the least, Plague Vendor is proof that even in these times of combos called Dancing, Girls, and the Teen Age, one can come up with an intriguing band name, matched to music that also begs for further investigation.

Their lyrics of heartbreak, being pissed off and the eventual willingness to admit when they make mistakes has made us feel all the while, they’ve just gotten better at saying it.

This duo continues to develop without forfeiting the high-energy antics that have earned them such a reputable DIY name.

That sweetness is exactly what we need after devouring the indulgent, carb-heavy, extra-sauce sound that is Drop, and (at the risk of allowing this metaphor to spiral further), we leave feeling totally satisfied and craving more at the same time.

The band’s tendency to venture into festival-ready rhythms and guitar noodling has remained an integral constant on their releases. With Light And With Love is no exception, but it also finds the band exercising their unique roots-pop expertise to an even deeper effect than before.

Tremors makes it clear that he has plenty of his own material to work on. His reliable vocals lead us through the enjoyable confusion that the album establishes, ever cool and whole-hearted, with a genuine sense of emotional investment.

It strikes you that the band’s songwriting, Battle’s vocal command, and the musical muscle is effortlessly melded. Which then has you heading back to the beginning of the record and realizing they’d hooked you from that very first tune.

The Slasher House is like going to one of those haunted cornfield mazes around Halloween time. As you sneak through the maze, things are a little scary, and you’re not always sure what will happen next. But it’s exciting, fun, and once you realize you obviously will make it out alive, you want to keep going back in.