Corb Lund fans will appreciate the new versions of older material, but the album also has a "greatest hits" feel to it, so it's a fine introduction for the uninitiated.

The solid Lovers Rock is a testament to Estelle's talent and career durability while paying homage to a genre that has withstood the test of time.

It's neat to hear Segall's version of these songs--revitalizing them and making them his own--and he certainly offered up a colourful mix.

Save somewhat of a flat end, Down Below is a great metal album that blends multiple genres into a perfectly idiosyncratic sound that should bring Tribulation much success and attention.

It is a masterful experiment, full of rich details delivered by a sextet of artists who are not only top-flight players but excellent listeners and re-listeners.

The outwardly fun melodies and rhythms are what define the album.

With enough panache to warrant a full-length release, Seasonal Hire is an all-too brief look into four musicians' quest to push their music further.

The music contains all of the trembling beauty fans have come to expect from Alcest, combined with a sense of vitality and wanderlust.

The songs are lushly dense and about as challenging and exhilarating as pop can be.

No Joy have learned a lot in the five years since their last full-length, 2015's More Faithful and Motherhood is the perfect encapsulation of that.

On LP, Container shows his ability to create a complete barnburner of an album in the least flashy and showy manner possible.

The narratives are better developed and there are invariably a couple of lines in each song that hit home emotionally.

Deathless Master is all tight, sinewy riff structures--songs that succeed by virtue of their grip and tensile strength.

They Want My Soul is a bold and swaggering declaration that Spoon have undoubtedly still got it--in spades.

With Into The Lair of the Sun God, the Chicago, IL metallers have once again produced a record that's as engaging as it is refreshing.

Those who prefer the more straightforward and rousing fare the two have released outside this project should be advised that III is definitely more ethereal drift than shooting star. Longtime fans will know what to expect, however, and while it's more of the same perhaps, it's arguably the best iteration yet.

This project is as close to inside Yow's twisted mind as fans have gotten, And it's a compelling, nightmarish realm for certain.

Celeste put out a sludgy doom-inflected black metal record; this year, Indian turned the equation on its head and put out a blackened doom record, that's equally depraved, nihilistic, and crucial for any fan of truly heavy music.

The Horizon Just Laughed is an album capable of moving listeners figuratively and literally. The pastiche of genres aptly complement and accent the American folk foundation that he's built his style and brand on.

Joyner's poem-songs are worth lingering over. As it turns out, his idiosyncratic sandpaper tenor and low spacious guitar style are the perfect instruments through which to deliver them.

Worth is at once fully realized and brimming with potential.

Followup Hello, I'm Doing My Best offers up more hook-filled, crisply produced radio rock with plenty of grit and soul from Barter, who remains a compelling presence throughout.

Although it's an intertextual and oftentimes challenging listen, Future Politics is also a compelling call to action to collectively conceive of the future and its manifold possibilities.

Ohio native sons MHz (Copywrite, the late Camu Tao, Tage Future, Jakki Da Motamouth and producer RJD2) have finally released their long-overdue debut album, MHz Legacy, and it doesn't disappoint.

Though a bit short at 36 minutes, there isn't a weak track to be heard.

The album, one of Wolfe’s best, is a powerful reminder that you are good enough, strong enough and brave enough to be mighty, authentic and free.

The Longest River sounds like it wasn't written to impress anyone, but impress it does. It's an intriguing debut.

With ten ridiculously infectious songs clocking in at just 22 minutes, Joanna Gruesome are in no danger of wearing out their welcome.

If you ask me, this is the most punk thing Iceage could've done at this point--and arguably the best thing they've done, period.

For all the mercurial experiments in power, Forgiveness also contains moments that scale back the theatrics to spotlight Tucker and Tividad as the sincere, gimlet-eyed songwriters they've proven to be since Girlpool's inception.

With this album, Gately set out to "capture the weird spikey nature of this kind of looming doom, but also to include some absurd colours," and the result is a swirling mix of eerie atmosphere, devastating emotion and brilliant sonic abstraction. It is Gately's best work yet.

Cola make it all seem effortless to create perfectly catchy post-punk tunes, incorporating their punchy instrumentals with casual social commentary and calming meditative meanings.

Aside from this titanic single, Club Meds is an album of subtle pleasures that's more likely to creep under your skin than hit you over the head.

This is yet another great Punch Brothers album.

Excellent production by Erik Rutan (Hate Eternal) at his Mana Recording Studio in St. Petersburg, FL takes Conceived in Sewage to a higher level of eviscerating brutality.

Midwest Farmer's Daughter will almost certainly stand among the best country records of 2016.

Beats are enjoyable, ranging from murky piano and trap drums on "Fish n Grits"--despite Travis Scott's painfully sung hook in stark contrast to his killer bars --to absolute winner "Fashion Week," with infectious, sexy vocals laced into the drum line.

Although it may not be the best project that Young Thug has released, certain tracks off So Much Fun are guaranteed to become classic party anthems played at max volume for years.

All of this freedom has culminated in a stellar debut full-length for Arts & Crafts.

Expectations is a nearly flawless record; Katie Pruitt will have to work hard to top what she has achieved here.

Dig in Deep treads familiar territory both musically and lyrically, but it bristles with energy and feels like an expertly paced live set by a singer and a band having an especially great night.

The heavily distorted, fuzzy wall of sound from previous albums has been replaced by lead guitar jangle here, but while that may seem off-putting to fans who are accustomed to the relentless punk bludgeoning of their previous material, at its core the songwriting is solid, and familiar enough for old fans to learn to love.

That lack of tension and urgency throughout stops A Moon Shaped Pool from being a classic on par with Radiohead's best work, but then, perhaps that's the wrong standard to reasonably hold an album that trades the band's trademark anxiety for acceptance, their experimentalism for elegance.

There's little about Dead Set on Living that isn't an improvement on the band's past efforts, from the thunderous guitar tones to the frenetic energy pouring out of every song, courtesy of live-off-the-floor recording.

METZ are an animal that's evolved to its benefit, with an appetite that's more refined and teeth that are still razor sharp.

THC is filled with indications that it's a labour of love, in every way. Single "Spread Love" feels like the main objective of the record. With help of BADBADNOTGOOD, theMind, Noname and others, the album comes together with live instrumentation and smooth production.

It's a multi-layered affair but each one provokes serious feelings and thoughts for those who peel them back.

It's a rare moment of ambitious sprawl in an album that's otherwise lean, loud, and a no-nonsense celebration of Cloud Nothings' strengths.

While still lighthearted and filled with humour, it's a massive shift from previous releases, both musically and lyrically, with plenty of hints of more to come.

Memoryland is arguably at its strongest when its homages and nods are less vigorous.

All told, Bad News Boys is as solid a record as the King Khan and BBQ Show have ever put out, and a must-have for fans of both the band and the genre.

It's a feel-good record with intricate, heartfelt tunes, and effectively spreads the gospel of the church of Spacebomb.

From the starting gate to the finish line, The True Story of Bananagun is a genuine work of delight to listen to in all of its funky, jazzy, psyched-out glory.

There can be beauty in decay, growth from devastation, and A U R O R A helps open your eyes to that perspective.

Shauf delivers a collection of tracks here that showcase exactly what made Skyline so incredible, and in turn, what makes him such a captivating artist.

The juxtaposition of her soft yet strong vocals draws you into her ghostly world, both dark and thrilling. Birth of Violence is a work of art that will please old fans and draw in new listeners too.

Keaton Henson's evolution has been exciting to behold, and Kindly Now is another compelling release.

Dal Forno is still true to the homegrown production that fans grew to love; Look Up Sharp is showing listeners just how much she's evolved in her slow-moving, wistful world.

It's rare for an artist to actually match a sound with their name (see Steely Dan for how not to do it), but with Talent, Pena has done just that by creating music that flutters to a perfect, heavenly beat.

Drama is softened by sincerity on the record, as NAO finds balance in the wake of chaos.

Dionysus sounds both ancient and contemporary at the same time, and there are not many groups that can show so much reverence for ancient traditions from a modern music perspective. Their eclectic approach to songwriting goes far beyond contemporary music genres, and that is ultimately the record's biggest asset.

Beerbongs & Bentleys contains banger after banger; it's an incredible drug-induced album.

The Siren's Song is another compelling chapter in what looks increasingly likely to be the long story of Kacy & Clayton's career.

In an uncertain era, signposted with fallen heroes, Revolution Come…Revolution Go is a comforting, potent affirmation that Gov't Mule will continue to flourish.

Deeply personal yet accessible slice of soul music.

New Me, Same Us is an apt title for this introspective and revitalizing work.

The band members proving that they are lifers at this kind of punk provocation.

This is tough-talking, hard-living stuff, but it's been infused with a welcome dose of 21st century sexual politics.

At a tight nine tracks, any fat that needs trimming from Motorheart is easily digested. This one runs smooth.

Altin Gün don't reinvent the wheel so much as craft a sick new set of rims. They do their thing like nobody else, and they're always getting better at it — Aşk gives you everything you want, and you'll still want more.

While not as immediate as its predecessor, Void solidifies KEN Mode as one of Canada's most important heavy acts, a band that doesn't just rely on brute force to affect its audience.

Recorded with Mike Sapone of both Brand New and Taking Back Sunday fame, the album has a lot in common with the former's Deja Entendu. It's also another fierce entry in the more recent catalogue of young and earnest bands like the Hotelier and Modern Baseball who are pushing a similar message of hope in the midst of struggle.

It's the raw and relentless aggression of Reach Beyond the Sun as a whole that makes it worth the listen.

On Pray for Haiti, he has successfully stayed true to his roots while offering unique yet less obtuse content.

Rather than sticking with what worked before, Modern Baseball's two songwriters have pushed the band forward here, keeping their music in line with their rapidly maturing outlook.

This is an assured return.

The record smartly connects sound with weight and movement without ever having to coerce the listener with heavy guitars or mountains of feedback.

Panic Stations is an easy and enjoyable listen, with all of the energy and dynamism that fans have come to love and expect from Motion City Soundtrack.

Condensing her struggles into meditative lyrics and singing from the perspective of fictional characters, this is a jazz project in its purest and most unadulterated form, and a very solid start to Ndegeocello's tenure at Blue Note.

No wonder the Man In Black himself recruited Neilson and her fellow musician relatives to be his opening act back in the day — she proved then, as she does on CHICKABOOM!, to be a worthy successor to the Sun Record sound.

Even though the subjects may not be sung about with as much grit as they once were, they are certainly darker than the pop genre that's entrapped the artist in recent years.

If You're Dreaming showcases Burch's ability to communicate a wide range of feelings through her music, from the sultry melancholy of "Jacket" to the tender reassurance of album closer "Here With You." This record is perfect for closing your eyes and retreating inwards, letting Burch's dreamy melodies guide you through some afternoon introspection.

Freakout/Release tugs on the bare threads of the moth-eaten sweater of our collective conscience while leaving us dope beats to step to and good thoughts in our heads. You can practically feel the cumulative effect of Joe Goddard microdosing mushrooms, opening the window of perception a tiny crack to let some fresh air in each day. Depression has rarely sounded breezier.

In many ways, Sweet Heart is the most complete Spiritualized album yet.

The fact that the album kinda sounds like so many things, very few of them usually adjacent to the genre, sits at the crux of the album's aspiration. Ordinary Corrupt Human Love is a critical reminder to card-carrying loyalists and new inductees alike of their own agency; that it's potentially revelatory, not sacrilegious, for the spectrum of black metal to include things outside of its purview.

By separating his musical personalities into two neat piles, Deacon stopped short of creating a truly epic record. We'll have to settle for just a pretty great one instead.

At 12 tracks, Radyo Siwèl doesn't overstay its welcome and is speckled with enough gems to leave a lasting impression. It's a bit cliche to say Mélissa Laveaux is "one to watch" yet, here we are.

The fact that it's both artistically bugged out and immediately rewarding is just the icing on the cake.

Their musicianship and unflinching humour in the face of potentially bleak topics makes this album a distinct piece and a joy to listen to.

Mangy Love sounds like a collaborative affair from an artist who has the keen ability to keep his musical identity sounding completely idiosyncratic.

At ten tracks, Blood is a more focused and refined effort than 2012's Mercury Prize-nominated Is Your Love Big Enough?, building on what we've come to expect from Lianne La Havas and surprising us with new directions.

It's good both for bobbing heads and bopping feet — both for being alone-alone, and alone-around-others, too.

If this isn't Jacques Greene's magnum opus, we'll be very curious to hear what is.

Segall may not be bouncing off the walls on Sleeper, but its decided shift shows his range and ability to continue churning out great releases at an alarming speed.

It's heady stuff to dive into, and Williams isn't particularly concerned whether listeners sink or swim, so long as they get wet.

Låpsley has expressed a fondness for writing sad songs, and while there's a pervasive melancholy to Long Way Home, it remains both accessible and sonically explorative throughout.

It's unburdened by obligatory connections to what's come before and as a result, has a renewed amount of energy.

They've managed to create an album that feels fresh while also being the closest they've come to recreating the magic of earlier records. This is a band that has finally found a way to evolve without eliminating what it was that made them so special in the first place.