Yet despite sounding like an album that could have just as easily come out in 2009 as 2019, it's a testament to the timelessness of Power Chords' sound rather than an indication of its tedium.

After an extended break, Teengirl Fantasy return wiser and sounding somehow more like themselves.

It's apparent that Zeffira possesses a terrific balance of style and substance on The Deserters.

For an album comprised entirely of outtakes, Oddments of the Gamble sounds surprisingly realized and complete.

One of the best things about the Album Leaf is the mental imagery that comes naturally with the music, and Between Waves provides a fresh canvas.

Mac DeMarco may assume a trashy façade, but beneath that lies a genuinely talented songwriter who writes what he knows and keeps us entertained while he does it.

As the Love Continues is one of them. Already an enduring album, it will surely solidify Mogwai's venerated status as shamans of our collective consciousness.

This Working Girl's Guitar is in top form here.

If you're a long-time listener, or someone that was tuned in to AM, you might be prepared to change the dial. But before you write this off as exhausting or pretentious self-indulgence, give it a listen or two. Peruse the lyrics, dissect them and have a laugh. Commitment isn't as scary as you think.

At the end of the day, this project shows Megan Thee Stallion in her most refined element--confident, powerful and never submissive.

Cult Following manages to be danceable, fun and impactful, all in a tight 45 minutes.

Rae feels light here, no longer weighed down by her past and suddenly able to address pain with emotional wisdom. The Heart Speaks in Whispers is a summer record that reveals the warmth in silver linings.

Despite a three-year hiatus, Claro Intelecto continues to generate quality, masterful releases.

It's a joy to bask in the glow of one of the world's best producers leaning into his strengths.

"pamplemousse" and "which way" serve as the purest evidence of the freedom achieved on this mixtape. These experimental sketches are delightful in their rejection of seriousness.

Thirty years deep into their career, Superchunk throw yet another left turn into a career full of them, offering up a protest record about the people for the people. What a time to be alive, indeed.

Time & Space is Turnstile taking what worked from their prior material and seasoning it with a modern, diverse zest.

Unique and dynamic, this is what Clutch do--and do best.

The record is comfortably balanced between different periods of Shepherd's work, derailing expectation surrounding followups, all while still obfuscating the line between analog and digital. For Floating Points, it's business as usual.

Shore finds them exploring vaster range than before. No longer do they sound burdened by the need to commit to a particular mood; Pecknold sounds freer than ever to be himself.

In the Lonely Hour is a mostly fantastic debut that is more than deserving of a double dip.

He's as strong a songwriter as always, but it feels like there's a deeper sense of purpose this time around, and it makes for a beautifully gratifying experience.

As a third album, it's an interesting station on the way to potential greatness, and it will definitively put the group on more than a few radars. Above all, on this album TOY makes us feel really excited about Brit-pop again, which itself is no small feat.

At only eight tracks, it's the shortest Smashing Pumpkins full-length and it feels less grandiose than most of their work simply due to that brevity, which makes it harder to measure against their other LPs--although it easily blows the last album out of the water and is more immediately catchy than Zeitgeist.

With 12 tracks and a runtime of barely more than half an hour, any flaws are minor and the album breezes by. The arrangements may be ambitious, but there's very little pomp or grandeur here; this is just another low-stakes success in a long and varied career.

Spiritualized have delivered yet another great project with Everything Is Beautiful, an incredible mix of genres bringing forth truly impressive instrumentals with compelling lyrics.

It's clear from listening to and watching Way Down in the Rust Bucket that this was a truly special occasion that now lives on, in this remarkable new document of Crazy Horse in all its (ragged) glory.

With Moths, Chairlift make a strong claim to being one of pop music's best songwriting teams, with the production and vocal chops to bring their compositions fully and vibrantly to life.

The Private World of Paradise is certain to earn Wake Owl a legion of devotees among the late-night headphones crowd.

It's a meeting of musical minds, and the resulting electro-traditional dialogue is fascinating.

Drake aims to come out stronger, more focused and more righteous than ever. ... He goes hard at addressing his industry ops on Side A, and it's full of the effortlessly cut-throat Drake we've come to love. ... Drake gets all the way into his feelings on the second half of Scorpion.

Where All Mirrors pushed at the sky, Whole New Mess explores the vastness of the mind and peculiarities of the heart. It may take repeat listens to hear these roughly hewn songs as more than demos for their gilded twins, but once you've waded deep enough into the record's shifting, disintegrating twilight, it becomes something wholly new.

The result is an absolutely vicious, fearless record.

Between her typically deft hooks, the thematic cohesion and the efficiency of it all (five songs, 20 minutes), Love is Free marks another gem in Robyn's recent, diamond-studded catalogue.

Granted, the guitar and sax rocker "Sed Knife" stands out for the wrong reasons — it's maybe a little too clean and straightforward given the context--but after years of flirting with the fringes, Half Free hits the art-pop bullseye.

Although a bit more subtle than her 2012 masterpiece Seeds, Overload still ranks among Muldrow's finest efforts.

Although "My Last Nerve" also falls victim to mid-tempo meandering, the remainder of the album serves as some of the best thrash from thrash's best band, who sound like they play their music with a shit-eating grin and a machete hidden behind their backs.

Rambunctious and irreverent, Oxymoron blasts bullet holes in the theory that gangsta rap can't sound fresh for 2014.

Airy, vaguely psychedelic and meaningful, Beyond the Times is a gorgeous exhibition from a thoughtful, voracious artist relishing a whole new outlet.

Wrapping The Practice of Love in avant-pop instrumentation, Hval nimbly threads complex sentiments through its prismatic shades of sound.

Haiku From Zero is another strong effort by a band that continue to celebrate the power of dance music, but as closer "Tied to the Weather" demonstrates, they aren't opposed to feeling the comedown effects, either.

Alpha is the brighter and longer disc of the two, varied in its execution by walking a line between challenging, progressive moments and more accessible fare.

Lovers Rock reflects the Dears' identity as a band, illustrating their development, both lyrically and musically, by intertwining a sense of being down in the dumps with intricate, euphonious melodies.

Aureate Gloom is the point where grief becomes a search for light in creation, adventure and musical experimentation, making even Barnes' more experimental sonic forays sound urgent.

There's a striking sense of command and confidence evident on this EP.

Braindrops is a tumultuous and compelling listen.

Realized with the help of Bird's fabulous backing band, the Hands of Glory, the arrangements on Things Are Really Great Here, Sort Of… are ornate and thoughtful, highlighting both the brilliant Americana song writing of the originals and the sweetly soulful execution of Bird and his band.

There's nothing groundbreaking or surprising about this last record--it's classic Gregg Allman--which is exactly why it's a sweet, solid note to go out on. I'd say we're mighty lucky he gave it one more kick at the can.

Natural Brown Prom Queen is somewhat overstuffed with both tracks and ideas, and the album's chaotic, sometimes hurried nature doesn't always work to its advantage. But even if censoring herself a bit more would've made for a more concise project, the album is nonetheless a captivating glimpse into Sudan Archives' artistic palette.

Cancer Bats' most experimental album might also be their catchiest.

Intentionally or not, Hynes has surreptitiously convinced listeners to deeply engage with his art; we're digging for the grooves, searching out the hooks while questioning our own habits and assumptions, as we look for our own meaning in the music. And there's plenty in Negro Swan.

Life is Good is a well-crafted entry from a seasoned veteran that displays his vitality and vintage flow 20-plus years into his career in a genre where many MCs don't age gracefully.

Rather than make giant artistic leaps every few years or so, Woods are content to push forward incrementally, showering fans with material that nonetheless gets better every record.

Interiors can proudly call itself a rightful successor to the post-hardcore classics status of their first two albums.

It is too early to call this the band's best work, as there is so much more to come from this band going forward. For a heavy album full of unexpected surprises, We Are Always Alone is an ideal second full-length from an up-and-coming band.

Many avant-garde instrumental albums exist to strictly craft a mood, and Tom Rogerson and Brian Eno somehow seem to merge these moods, sounds and themes together effortlessly and radiantly on Finding Shore.

Harlecore is '90s rave held up for review, assessment and full enjoyment, and if there isn't a ton of depth here, the breadth (with Harle essentially exploring four different sub-styles through his various personas) is more than impressive enough to make up for it. It's all pulled off with such glee and energy, that in terms of pure enjoyment, it's very difficult to fault Harlecore.

She's produced an inspired disc that never lets up.

Summerlong showcases Johnson's prowess as a songwriter, as effortlessly as the sun shines on a clear summer day.

While King Tuff has skilfully honed his '70s shtick here, Black Moon's appeal reaches deeper, transcending the novelty with well-written tunes that are fun even for those impartial to the decade.

With the band's integrity, commitment to their craft and immunity to the passing of time, they're sure to make their patient fans happy with Duster.

Flying Microtonal Banana is another wonderful release by King Gizzard.

Welcome 2 America is an incredible listen and an album that proves that even when Prince had reached his lowest point, he was still capable of creating magic. It's a tight, concise body of work that is a few missteps short of perfection but is still far and away his best release since 1987's Sign o' the Times.

It's business as usual for the Wedding Present, but in the best possible way.

You Are Eternity is a remarkable accomplishment in sound design.

In nearly every case, the remix version does justice to the original while taking the track to a completely different place sonically.

Rawlings' and Welch's music always feels like a return visit, and Poor David's Almanack in particular seems perfectly suited to tack up on your wall and consult at home.

Corpse Flower has a dynamic sound that is interesting for anyone. The record is another example of the masterful musicianship of Patton and showcases Vannier's capabilities in crafting perfectly balanced pieces of music.

One True Pairing is not an easy listening record, despite its pop structures. Fleming is stark in his observations, yet he has woven hope in amongst the despair, creating a body of work that serves as a way through difficult and tumultuous emotions.

Despite their sonic similarities, Deacon's fourth full-length has struck an amicable balance between the hyperactive energies and extravagant compositional ideas prevalent in his earlier work.

It may not be the triumphant return fans had hoped for, but it's not a desperate gasp for one last breath either. It's somewhere in between — a bittersweet last hurrah. Demanufacture from 1995 will always be the rusted jewel in Fear Factory's scrap metal crown, but Aggression Continuum is a worthy final program before an inevitable systems reboot.

Musically, Guilt Mirrors is all over the map in the best possible way.

It's not your typical upbeat pop album — instead, it's more reflective and subdued. Through it all, it stays true to the young artist that took over pop music in only a few short years.

Mixed Emotions is just the painstakingly crafted, mood-driven long-player we've been waiting for from this immensely talented duo.

This album, Segall's 13th, is a sonic buffet that will likely have you reaching for a second helping. If this is your first foray into the dense world of Segall, you're in for a mouthful with First Taste.

The pair have fully blossomed from their early DIY start, showcasing an incredible range of indie pop craftsmanship and a grounded centredness built on empathy and understanding.

Fujita is a rare talent and Book of Life should announce him to a much wider audience as a vital composer with a unique voice, one I hope and expect we'll hear grow and evolve for many years to come.

As their 2015 album relied on a pair on vocalists, Mutado Pintado and Paris Brightledge, sophomore full-length PL utilizes a whole stable of collaborators to create a pleasingly wobbly and splintered set of songs.

2015's Peripheral Vision was indeed more dynamic and, for that reason, might remain their strongest effort for the time being. But let yourself sink into Good Nature, and you'll find yourself in a place of idyllic beauty.

The album is all the more impressive because her words and music are meticulously calculated, expertly arranged and still filled with feeling.

At its best (the haunting "Ashes," the provocative "I Ain't The Girl," the killer cover of "To Love Somebody" and the title track), Faded Gloryville is a tour de force. Too bad the two weakest songs ("Run A Muck" and "Rundown Neighborhood") appear back-to-back, temporarily breaking the spell at the midway point.

Accentuated by the pair's newly honed synchronicity and Carlile's expert production, the Secret Sisters' lofty ambitions for this record ring out clear and true.

Providence finds Fake reinvigorated, having worked through writer's block to find inspiration in a virtual analog synth from the mid '90s, the Korg Prophecy. He mined all the gold he could from that Korg to make Providence.

This album demonstrates that Yukon Blonde can transition and adapt to a change in sound efficiently and damn well.

Nothing Is Still is an excellent demonstration of what Leon Vynehall is capable of when he emerges from the confines of club music.

Cronin offers new experiments on MCII, but errs just enough on the side of caution to create a fantastic pop record.

Listening to Hiss Spun is a punishing affair, but it's a rewarding one too. It's the sound of an artist not afraid to dig deep emotionally, and that challenges the listener to do so as well.

Something to Lose is evidence of Better Person committing further to terrain covered on his earlier EP, mining often overlooked musical traditions with obvious enthusiasm and yearning credibility, an effect that is elevated when paired with Goldwasser's expertise.

Providing a counterpoint to the dark rumble of the remainder of the release, dBridge has crafted a record that traverses the emotional spectrum in its three tracks better than any other drum & bass release has in the last few years.

Topped off with exhaustive liner notes with essays and photos, Masculin Féminin is specifically designed for completists, providing superfans a satisfying wealth of unreleased material.

Bed & Bugs finds one of America's mightiest, smartest rock bands playing at peak power, challenging themselves and conveying the ragged glory of camaraderie.

for fans that have been waiting for a new chapter in the sound of the Flatliners, look no further than Dead Language; it speaks much louder than anything they've done previously.

There's a little less bravado for its own sake; instead, we are offered reflections on the differences in the man's life since his last release from jail. He's married, off of drugs and, as the album's cover shows, ripped now.

While Sings Christmas Carols could provide any miserable person some relief at Christmastime, it also works nicely for anyone who loves these songs to hear someone other than Michael Bublé or Justin Bieber sing them.

Birthmarks might throw off some, maybe even lose them, but the gamble has paid off, and will undoubtedly result in producing more new fans, as well as reassuring old ones.

Godless Prophets & the Migrant Flora is the best Darkest Hour since those two albums, and positions the band well to lead the melodeath-inflected metalcore rebirth that, if the revival of its more chaotic precursor is any indication, might be just around the corner.

Dream Theater are by no means breaking any new ground on Distance Over Time. The album pulls from the same bag of tricks as the rest of their discography. What Distance Over Time does offer, however, is that "it" factor you can't quite put your finger on. Many lifelong fans claim the band lost their mojo the day founding member Mike Portnoy left the band. If that's the case, they seem to have found it on this release.

The subject matter is profoundly dark, but the songs somehow come across as lithe and inviting.