An audacious compilation of carefully arranged instrumentals under reflective lyrics.

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.

The Horror is a highly effective album because of how its sense of doom infects you.

Deeply rewarding and slyly addictive, Channel Pressure is an uncommon gem, a difficult record that really isn't difficult at all.

Instead of feeling like a testing ground for a series of wild experiments, White has crafted a collection of hushed character sketches worthy of Randy Newman or Bill Callahan.

YT // ST is not subtle, yet it’s still simultaneously visceral and generally accessible, while maintaining its unique voice.

What makes Paracosm unique from Greene’s previous endeavors is that Paracosm is like the voice of John in Aldous Huxley’s Brave New World, asking for balance in a world inundated by the synthetic. It gives us a little breathing room from all the heavy drops and synth-pop without totally giving the technological age the slip.

If you can get past the (New York-ishly cynical?) temptation to corner this band into an indie frame, you can revel in the depth and intricacies that the band has managed to unearth from and on Manhattan.

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

Confidence and a greater level of comfort can be felt all throughout Cosmos.

While some longtime fans may find Just To Feel Anything's retreat from the cosmos a disappointment, the album's relative conceptual restraint actually allows it to be even more emotionally accessible, inviting the listener into the trio's interstellar clubhouse instead of only letting us peak in from the outside.

Through it all, the energy and attitude is unchanged. And although the band’s themes seem even more specifically focused, this album is really for anyone who’s ever felt held back.

On Low's ninth full-length album, the slowcore trio from Duluth creates its most inviting work to date.

Although there aren't any obvious standout hits here, that's not what FlyLo intended to create. Instead, Until The Quiet Comes blends together into a lush electronic soundscape you can daydream to.

At 19 tracks, Old can get a little taxing, as if Brown, in an effort to be expansive, just decided to be everything all at once.... But you’ll forget about that once you realize that Handstand‘s beat is a dizzying tornado of synth and buzz that’s unlike anything you’ve heard before.

There is a blood on the dance floor at this party, and it sounds so refreshing.

They may not be particularly youthful anymore, but there's plenty of transcendence to be found on this record.

By relying on their talent and confidence, the fivesome takes the listener to a futuristic setting, one where '60s British pastoral music fuses with electro in order to fill a hole in the musical landscape.

It's a real relief, then, to hear METZ's self-titled debut, a tight set of 10 gut-punch punk songs that, in 30 minutes, delivers the type of catharsis we've been lacking.

While artists such as Dam-Funk, Onra and Krystal Klear resurrect this sound some 20 odd years later, Back To Reality establishes that Tony Cook was, and still is, the real thing.

[Slaughterhouse is] a master's thesis of reverb, crafted by an electric orator who, more and more, finds the pithiest ways to worship the guitar as instrument, drug and weapon.

They haven't lost a bit of the cheeky lyrics and determined instrumentals that made them who they were; they've just tweaked it all to suit who they are now.

You may categorize An Album By Korallreven as background music. That's by no means a bad thing-if anything, such a distinction solidifies this album as an intense experience: a wintry escape to the wilderness with a slight detour to the dance floor along the way.

There is something refreshing about an artist that tries to create well written and well produced songs instead of ones that smack you in the face with the frying pan made of catchy hooks, beats and shout-along choruses.

Sweet and thoughtful but not without edge, Lemuria knowingly toys with us on The Distance Is So Big, reveling in the loops of the lyrics and the strength of their unique saccharine force.

Wondervisions, its lyric-less debut full length, does not fall short on its abilities to stir emotion.

Hurricane Dub is the original album chopped and screwed and recorded at the bottom of the sea, all murky bass, Jones' deep voice and rasta-twangy guitar.

Sankey and Warmsley still have a lot to offer on Welcome To Condale, with Sankey's large vocal range that easily adapts to the feel of each song and Warmsley's ability to match her perfectly in background singing.