Hearing it now, After the Party is delightfully bittersweet. Years on, when time has continued to pass and age has continued to set in, it'll be devastating.

Stylistically, White may be a one-trick alligator, but it's a damn pleasing one.

Although Another Life may be borne from the unnerving question of whether the world will be saved or destroyed by technology, the music contained within is still hard-hitting, at times danceable, and infinitely entertaining.

The most sophisticated and pristinely produced versions of their signature sound to date. Whether you're a new or old listener to Teeth of the Sea, Wraith will be a fresh experience.

Every bit as accomplished and rewarding as Simian Mobile Disco's recent work, Swisher is electronic music for the connoisseur.

For those who ran out of goodwill for the band's music and antics post-Money Store, Death Grips 2.0 is worth looking into.

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

The Ice Spice collab "Boy's a liar Pt. 2" is perhaps inevitably tacked onto the end of Heaven knows. It's a bit of a self-own, as it easily outshines the rest of the album despite being far simpler in every way. PinkPantheress has become an expert pop craftswoman — but the stripped-down magic of "Boy's a liar Pt. 2" reminds listeners that incredible hooks outweigh intricate production every time.

A Beginner's Mind will not wow you with grand theatrics but it will have you on the edge of your seat nevertheless.

This album is an advancement rather than a return to form. Despite their previous effort struggling against the weight of the band's dormancy, this album is a moving experience that brings with it a sense of fading youth.

On Faithfull's latest album, Give My Love to London, the collaborations work best when they contrast with Faithfull's signature weathered chanteuse persona, giving a new background for her unmistakable voice.

On Power, Lotic shows that there are no boundaries and no blueprint to their craft, both musically and conceptually.

Oshin is remarkably consistent, both in terms of style and quality, and there isn't a dud amongst these 13 tracks.

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.

In effect, McIlwain has succeeded in making not only a great record, but also a thoroughly lovely one.

She's a straight shooter, and Trouble & Love hits right to the heart.

Over the course of 11 impeccable tracks, Amos delivers eerily infectious singer-songwriter fare on par with the intelligent and emotionally raw efforts of Nina Nastasia and Sun Kil Moon, but that's polished with studio savvy worthy of Califone or even mid-period Modest Mouse.

Since this is Tanya Tagaq, no moment of the album feels excessive or perfunctory, making Animism one of the most challenging and listenable albums of the year.

There are flashes of influences--Ministry's late '80s, early '90s run is a clear antecedent--but the pair never succumb to mimicry or idolatry. This is Berdan's pain, writ large and loud for all to hear.

Torche are one of the most important and unique heavy bands of the last decade, and Admission serves as another solid entry in their catalogue. For a full picture of the band, Admission is the record.

The Mountain Goats really haven't gotten the attention they deserve over the past several years, so if you want to introduce someone to them, Songs for Pierre Chuvin is a fitting choice. It's a great example of the heart of the band.

Sideways to New Italy is not only the perfect summer companion, but it also makes room for a reflective experience. As the band work to find what constitutes "home" again, digging into their individual pasts and the people and places who have shaped them, perhaps it can inspire listeners to look inwards and do the same.

it's also about how those feelings of weariness and romantic ambivalence can so quickly knot up with ones of jealousy and longing. There is, of course, no resolution in sight by album's end. But it's in these in-between-spaces where Deland thrives. It's a gestational document, thrilling to witness.

While Good Woman is not the most notable stop on the Staves' journey, it retains all of their most delectable elements — heart-hitting harmonies, lovely melodies, and moments of lyrical spark — that have come to define their work.

It's a more focused effort than scattered 2014 solo debut Everyday Robots and more delicate than the bulk of his back catalogue, but Albarn's still drawing outside the lines.

There are moments on Superchunk's inspired and inspiring Wild Loneliness where ideas of isolation and connection are pondered and addressed but any despondency is met with righteous hope and a roaring conviction that all is not lost, and goddamn do we need records like these right now.

While there is no shortage these days of songwriters railing against soured relationships, Hackman has finally made it out of her twenties with all her good intentions and bad decisions leaving marks on her heart. She's ready to turn those pages and tell her grown-up tales.

Triplicate proves that his ability to interpret the Great American Songbook is equally worthy of recognition.