On Your Own Love Again is a record about that struggle with transmuting feeling into expression. The grand themes of the album are heavily understated but, well, that’s kind of the point.

Always professional, but rarely memorable, What a Terrible World, What a Beautiful World, much like its fudge of a title, ultimately balances out as a fairly middling work.

The artistry on Shadows In The Night is as sharp as ever, which is a welcome reminder of how Dylan’s songwriting is only half the story. The emotional electricity of his albums stems from his composed and ardent delivery and the sonic poetry of the arrangements surrounding this delivery.

Tillman becomes one of the great diarists of our generation in Honeybear, possessing a keen, merciless intelligence within a sophisticated melodic sensibility.

Aside from a few tracks that feel tossed off, too self-aware in their own weirdness, Hawkline does manage to justify his odd behavior with heaps of whimsical charm.

Many of Sauna’s strongest moments result from Elverum sticking to what he knows best, as well as being the most closely akin to his last two albums.

While the tracks rarely challenge the listener with bold experimentation or chord progressions that range much beyond major-and-minor resolves, Natalie Prass provides a concise amalgamation of R&B, funk, baroque pop, and soul with a consistent through-line.

While Individ is marked with the frantic momentum of an inspired studio creation, it ultimately suffers under the weight of its boldness and reckless abandon.

Range Anxiety is a deeply considered listen, one that relinquishes the audacious idiosyncrasies of Underlay EP in favor of a more scrupulous and intrinsic approach.

Clocking in at a mere 32 minutes, the album is conceptually and sonically tight.

What they do rhythmically and spatially sounds great: the expanse, the air, the solid bass rhythms and percussive malleability.

What Nights possesses in skillful precision and tight musicianship it lacks in songwriting polish, though it’s easy to dismiss when it hits you with its triumphant highs.

Everything Else Matters is a strong and accomplished debut by a band that, whilst clearly taking a lot of their cues from the past, are still looking to push sonic boundaries and create intelligent mood pieces.

There’s enough here to please die-hard fans.

There’s a brittle vulnerability present in Viet Cong that triggers an innate sense of curiosity and optimism despite the downtrodden tone it adopts.

It’s largely inoffensive and bland, with a few above average moments, and has a tendency to fade into the background.

Panda Bear Meets the Grim Reaper can be a particularly infuriating listen since it wanders between moments of greatness and utter tedium.

Sucker is a one-two punch of wit and grit, as irreverently bratty as the lollipop Charli holds on the cover yet never impersonal, perfunctory, or insincere.

Not only is Seeds the most direct and optimistic album, but in some ways, it's their poppiest.

Grohl and Co. have celebrated the veins of American rock music from coast to coast, but their fear of over-administering each city’s sonic roots into their own blueprint has hindered the progression of Sonic Highways into a cohesive unit, and instead resulted in a challenging listen.

He deconstructs pop conventions within the first five seconds in pom pom with a devilish grin, setting the tone for an uncompromising mélange of hissed art rock that ups the ante even further than the disarmingly twisted Mature Themes.

In spite of the apparent minimalism, Hookworms deliver a sonic feast for the ears that knows how to capture an all-encompassing whole rather than a moment in time. It wants to be everything at once, brightly exposed even if some of its color is lost.

What we find with Tough Love is an album just as conceptually focused as Devotion, yet too willing to waste Ware’s sophisticated emotionality on tracks with no depth or purpose to them.

Soused, with its impenetrable construct and heavy ambition, delivers on many fronts, most notable of which is in its thoughtfully composed immensity.

There’s no use putting The Twilight Sad out of their misery if they continue to deliver such a delightfully morose tapestry of color and vitality.

Taiga is a more mainstream album than people may be used to from Zola Jesus. But that is not a bad thing.

It isn't perfect, its sheer restlessness prevents it from being so, but it will undoubtedly come to be remembered as another masterpiece from possibly the greatest electronic composer to walk the earth.

Weirdon is a melodic and enjoyable rock album.