Their best album to date, Fall Into the Sun is the sound of a band rebuilding itself one song at a time and becoming that much stronger in the process.

True to its name, Sebadoh's latest proves that, even after all these years, the band are still capable of making music that is thoughtful, humble, and, at times, surprising.

With this EP, Krug demonstrates that less is more, but that it also doesn't hurt to go big, even if "big" in this case is an expertly timed digital synth here and there.

The album is a joyous, well-executed mish-mash rooted in crisp sounds, thanks to James' rock-centric production.

Oddly captivating in running just shy of 40 minutes, Splendor & Misery is hardly your overblown concept record that runs far too long. Indeed, it's worth multiple listens for both its out-of-this-world production and Diggs' one-two punch of lyricism and bafflingly effortless delivery.

Juice B Crypts responds with 11 tracks of knotty, electronic rock puzzles.

If Brasstronaut's fans are willing to go along for the ride, Mean Sun will reward the patient.

The focus is the production rather than the songs, and Ultramarine is sadly missing the killer choruses required for a great pop album.

Weapon stands as Skinny Puppy's strongest work since 1992's Last Rights; it's a testament to one of the few reformed bands still striving to push, not just themselves, but an entire bygone genre forward.

Untethered Moon is arguably the most enjoyable Built To Spill album since 1999's pivotal Keep It Like A Secret.

Every song manages to fit very well together without sounding too similar.

Packed with tight hooks, this record adds plenty of new songs to Operators' repertoire that are sure to keep the crowds dancing late into the night.

Beyond its heaps of pop-rock hooks, TUNS debut full-length is a testament to the eternal power of friendship.

In just under a half-hour, the band tear apart any notion that punk music can no longer be inventive or groundbreaking; Dead Cross brings life back into the genre.

It is a good first showing, especially given the conception of many vis-à-vis the musical talents of one hit wonders. But it does have the feel of a first album, in that Sheck seems to still be looking for his style and sound.

With plenty of captivating textures, there is lots to explore on the record, as there is in the world, but the deeper one goes, the more bountiful the rewards.

When compared to last year's Music Is, it's nice to hear Frisell in a live setting and with a solid partner: as result, it's more spontaneous, less polished and more engaging.

The Best of Luck Club may lack some of the whimsy that got her noticed, but with this more mature turn, Lahey has expressed some lyrical depth that wasn't quite there the first time around.

The Vancouver duo's captivating moments easily outnumber the few duller ones. On Lightning Dust's fourth studio album, Amber Webber's beautifully haunting voice brings hope to dark places, and following it feels like being guided to the light at the end of the tunnel.

Whether you can consider this old-school, new-school, or somewhere in between scarcely matters. What we have here is yet another brain-melting album from an artist who refuses to stand still.

Scis demonstrates that, 27 years into his recording career, Markus Popp is still managing to come off forward-thinking and forward-sounding.

Changes isn't the most complex album King Gizzard & the Lizard Wizard have ever made, but it's been gestating in the backs of the member's minds for years, and feels oddly representative of everything they do well. Whether you're a true Gizz-head or just dipping your toes into their psychedelic swamp for the first time, it's worth a listen.

A decade after "Take Me to Church," Unreal Unearth's muscular production and defined vision proves Hozier's maturity as an artist, complete with his usual employment of religious imagery. He doesn't shy away from the darkest parts of the human condition, but he isn't afraid of having a little existential fun either.

If the Muffs were a drink they'd be cream soda, and while I'd typically prefer it spiked, that would be contrary to the point; the band's aim is to deliver a simple, somewhat fizzy sound marked by prominent vocal melodies and choppy yet clean chords.

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.

While Bunny is fairly consistent across the board, there isn't much that sticks out here.

Deer Tick are so wonderfully straightforward and stripped of all self-importance that Deer Tick Vol. 1 and Vol. 2 manage to make up for lost time without compromising any of the acute writing or boisterous energy the band are known for. The records aren't epic returns to form that beg to be lauded; rather, they feel like four guys remembering how much fun it is to make good music.

There's something pure about Tacocat, which comes across throughout Lost Time. The band describe themselves as being best friends, and this sense of joy and excitement is palpable throughout.