Bondy trudges along without much to believe in, but his instilled confidence tells otherwise.

Mystery has a jazz-fusion inspired structure, complete with waves of distortion, hectic-but-precise drumming, growling guitar accents, and layers upon layers of vocal blankets that push the music to teetering on the edge of chaos.

It's been a pretty solid year for electronic music thus far, and this comfortably sits with the best.

There’s a lot to take in throughout Wed 21’s richly layered and complex matrices, but in no way do they hinder Molina’s streak of keeping things minimal.

Uniform’s American nightmare is relatable and honest, revealing the dangers of dependency, the want of escape, and the problematic effects one can experience while trying to end that bond. One can’t say that there’s hope within the contents of Wake in Fright, (one might even say it’s a tad overwrought), but it’s a story worth telling nonetheless.

I Love You Like a Brother is the type of catchy, kinetic album that’s natural and effortless.

Their attempts at country-folk are less remarkable, causing This is Glue to droop towards its middle half, but Salad Boys do pick themselves up with aplomb rather than surrender to their sullen demeanor.

It’s the ultimate sample platter for a band who defiantly refuses to meet your expectations, and for everything it lacks in consistency, it more than makes up for in offering a heart-bled moment that will burn bright for someone.

We Cater To Cowards has warranted many listens, our current timeline a wealth of ridiculousness breeding targets meant for Oozing Wound’s shrapnel. Again, if you’re missing the joke, you may want to duck.

The Lady Killer is generic in the best possible sense of the word; put simply: this is music for the soul, and even Mr. Gallagher has one of those.

The performances are muscular and attention-grabbing, and the melodies built around her distress take new and zestful contours.

You may not love it, but you'll probably like it, and that's enough.

Despite the group’s apathetic demeanor, it makes you wonder if each track on You’re Nothing’s sublime dirge is a result of those fleeting moments of carnal ecstasy, as it’s hard not to get lost in the beaten and bruised squalor Iceage expels on their grittiest--and best--album yet.

Marissa Nadler does continue Nadler's impressive track record, and showcases her at her most confident.

The album twisted and turned its already discombobulated songs around and around, never letting anyone get comfortable. It showed a more cerebral Spoon than ever before.

Segall eases you with his unique charm, but he also tricks you, subtly cranking things up to remind you of his frenzied output. The tone remains largely indistinct throughout, but it also feels like he's begun concocting his next witches' brew.

My Maudlin Career is a wonderful set of songs and can deservedly sit alongside Let’s Get Out Of This Country while showcasing how far Camera Obscura have come since their patchy yet charming début, Biggest Bluest Hi-Fi.

To put it simply, it’s a near perfect conclusion to one of the finest records I’ve heard this year.

Even through all the morass, a vague optimism seems to always seep through; he plays with our senses, waiting for that final act to pull a disappearing act that can leave one utterly spellbound.

It shows off a fantastic songwriting talent, if not conveying the live magic.

Wind in the Wires is a beautifully executed album that has everything: pace, panache, and clean sentiment.

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.

Earthly Delights shows that they have yet to exhaust their uncanny vision.

Out in the Storm is perennially bright, with its melodies maintaining a serrated edge that ensures the sound remains robust, immersive and hard-hitting.

"Matured" is an overused word in music criticism, but that's what No Age have done. They've evolved in a completely logical direction in ways that are pleasantly surprising but never jarring.

Reflektor hits too many high points to entirely consider it a failure, and despite its convoluted lyrical content and overreaching scope it still crosses the double album finish line with satisfactory results.

By stripping things back a little, Low have turned in their most confident, consistent record to date (admittedly this might have something to do with the fact that, running to only ten tracks, C'mon is also their shortest), and even, in places, sound like they're actually enjoying themselves.

Sun Coming Down constantly engages and enthralls with an odd sense of humor, cementing Ought as one of the few contemporary post-punk acts that seamlessly merge frantic irreverence with feral intelligence.

Tracks like Nina and Part III give some motion to the album's swaying ebb and flow, while the intricate contours of Ghostride highlight how they craftily maneuver texture and groove. Nevertheless, there's also a hidden complexity behind Jinx's playful variations.

Glossily produced, the new album is much less thorny than Marshall’s earlier works, showcasing the artist’s songwriting and soul singing talents.

Perhaps the most significant thing that Director's Cut offers is context. Not just the context of an album – which it is being touted as, rather than a mere compilation – but the context of era, in how technological limitations of the time affect a composer's original intentions.

Harvey’s audio experiments are celebrated with the release of each new album. But I wonder what she would do without any limitations.

Gorguts are no strangers to ambition, always pushing themselves to find beauty in the darkest, most sinister tales of our checkered evolution. What’s most surprising, though, is that we finally get to witness a cast of players who can actually give the ever-shifting Gorguts name the treatment that it deserves.

Saturnalia revels in sin while occasionally contemplating salvation. Mesmerizing comes to mind.

While there is no denying that Keep It Hid is the product of one half of modern rock’s most invigorating duos, Auerbach is able to mix in enough of his own spice to make the album a worthwhile affair.

It sometimes renders a bit slight and doesn't have quite the volume of her best material. But Grid of Points pulls you in all the same, and as it is with Harris's best work, she emanates a mysterious allure.

What's fascinating about their return in album form, Sixth House, is how they manage to pick themselves quite faithfully from their teetering anthemic force.

Van Etten took the risk of not releasing any singles beforehand so audiences could more fully understand the full scope of the story. She holds a little bit of control before charging ahead, unlocking the connection she craves after experiencing a ceaseless stream of negativity. It's the kind of emotional catharsis all of us can relate to during these uncertian times.

Cruise Your Illusion doesn't disappoint; what the Washington four-piece have accomplished is as authentic as the influences that ooze from its fuzz, and warmer than an Arabian armpit.

Lush marks the arrival of an immensely talented singer-songwriter who also still has much room to grow. It may not live up to those more exuberant expectations of an instant classic, but it’s still an admirable, skillful piece of music that leaves me excited for what comes next. In this case, Jordan hasn’t finished the race. She’s just arrived at the starting line.

The Unraveling finds Hood and Cooley as fiery as they’ve ever been. If American Band proved that the Drive-By Truckers still had plenty left to say, The Unraveling shows that they can allow themselves a bit of fun in the studio while getting their message across.

If you strip their sound to its core, like the harmonies and the distortion, you’re left with an invariable rock record. If this isn’t a true representation of what modern rock should be, I don't know what is.

Are You Alone? only reveals itself more dependent upon the listeners’ own experiences, and since we’re dealing with heartbreak here, its potent message will never cease.

It’s the first time he’s willingly given up a little of his signature panache in order to achieve a more palatable sound. Still, Blake’s ability to both appease and innovate makes for an always transfixing, if occasionally frustrating, album experience.

They're taking everything they have at their disposal and mixing it all together, creating something undeniably unique and fantastic.

While many of these ideas aren't particularly sexy, especially for artists who've recently turned forty, the band wisely keeps their grand, romantic gestures in check while making them thoughtful and relatable.

here’s not one tired moment, no obvious retreads to be heard. It’s a solid third act, making good on the promises of (many) tomorrows.

If 22, A Million could come off as sometimes cold and always anxious, then i,i is the warm flipside, with songs that float and flutter, that call for resilience rather than resignation. ... This record finds power in its collaborations.

While a fairly brisk listen, the album does start to drag in its second half. Not that the later songs are particularly weak, but the only thing that really marks them out from those in the first is that they're a bit quieter.

Somehow, the 21 minutes spent with Vivian Girls are innocent and punctuated by brief moments of euphoria that make this debut more than worthwhile.

If you are seeking something original then this is not it; if you are a fan of good music and your ears need their medicine, this is exactly what the doctor ordered.

While fans of Power and Fuck Buttons in general will certainly feel at home here, as there’s plenty of abrasion and distortion to go around, Animated features, frankly, some of Power’s catchiest and most memorable compositions to date.

If you like the singles, you won’t be disappointed by The Magic Numbers, but you won’t be astounded either.

Libraries is chock full of restructured reminiscence, yet doesn't lay any cautions in modernizing pop's landmark, time-honored aesthetic.

Ladies and gentlemen, let me introduce to you, coming all the way from left field, the best album of 2012 so far.

It’s an album of perpetual fruition, payoff meeting payoff with gratifying speed and the rush of riff-borne frenzy.

Perhaps there’s not that one killer single that will turn her into an instant sensation, and those are bound to emerge, but what she’s cultivating with Georgia holds more value: that of creating an essential body of work that is unaware of any imperfection, coming from a mind that’s overflowing with a glut of ideas.

From the 19-song tracklist of short tunes to the complete disregard for standard song structures, Goat Girl’s self-titled is a punk album in demeanor, if not in style. The result makes for a far more fascinating record than initial singles would have led us to believe. In defying expectations, the band exceeds them.

Tropical Fuck Storm (also driven by ex-Drones bassist Fiona Kitschin, drummer Lauren Hammel and guitarist/keyboardist Erica Dunn) is less Gang Of Four than they are The Pop Group, a similar level of poetic critique and takedowns packaged and delivered with unsettling and risky discord, a veritable junkyard sculpture thoughtfully constructed from punk scraps, crusty psychedelia and a rhythmic articulation of ideas bred from the spoken word.

There's a lot to ponder while listening to Powers' dynamic and exuberant contours, coming from a band that's adapting to life's changes with piercing directness.

Ffollowers of the band will notice how they sometimes hold onto their older tendencies (see: Microscopie, the title track). Nevertheless, the strides they take show how they're an asset to their new label—and not the other way around.

Mould's most mature album, and for that reason, it is definitely his best solo album, too. The Silver Age is not the best record of the year, but it is certainly one of the most unpretentious and easily liked records of the year.

Sweep It Into Space obviously can’t rival that career high, but it is a leading candidate for their best post-reformation effort.

A work of faultless skill and assured sophistication, The Take Off and Landing of Everything positions Elbow as one of the most quietly ambitious and rewarding acts of our generation.

Pretty Years doesn’t sugarcoat things just for the sake of it: the band is just as apprehensive about life’s everyday troubles, and it’s by holding on to a healthy sense of proportion that Cymbals Eat Guitars retain their quietly visceral power.

Some aspects of Prize remain a little perplexing—the wordplay doesn't always land, and the slinky-like guitar progressions feel a little like déjà—making it seem like a logical progression and not an artistic leap. But Plain's strengths lie in how she maintains a unique identity regardless of the numerous collaborators, always attuned to her inner world.

Compared to this summer's pop offerings—think of the similarly themed efforts by Billie Eilish and Lorde, both of which deal with the trappings of fame with serenity and blissful detachment, respectively—If I Can't Get Love, I Want Power is provocative, and even ugly, in its most vulnerable moments. Self-indulgent, sure, but its emotional chaos feels earned.

Overall, a fine album, self-released or not.

There's no denying the adroit songwriting that’s on display here (they are veterans, after all), as they continue to chug along with low-stakes, yet engaging releases that cement their place as living rock royalty who’ve never gotten their due.

As a bite-sized musical excursion, the stylish electro house of Ditto's solo debut is likely to leave many disco doyens wanting more.

The trio's assembly of sharp percussion and atmospheric melody as logically configured and essential to the make-up as words are to a properly written or formed sentence.

Fading Lines does leave much to be desired in its implementation, though, but there are multiple hints here that suggest that this is only the beginning for de Graaf.

Heaven may be one of the Walkmen's more detached efforts thus far. For a band that's been exercising their rollicking sway with a deft ear, it's a shame that there's only space for one real heart tugger, like in No One Ever Sleeps

Through the album, EMA never judges or grandstands. She takes snapshots of life outside metropolises, inviting everyone to look closer at those left behind in the outer ring.

They haven't changed their sound much, but more of the same is hardly a problem when it's this enjoyable.

Everything about Arrivals points to it being a landmark release for both post-rock and IDM, two genres that seem to be well past their prime.

Largely magnificent.

Twins proves to be an excellent collection of over-driven garage pop scorchers that fully exhibit Ty's personality and passion for rock and roll glory.

The open spaces she works with are stunningly evocative, but her compositions are no less busy, a testament to how she’s based much of her compositional framework on a song’s underlying rhythms. It provides a strong feeling of familiarity for those who’ve followed Colleen’s work throughout the years.

This is the year’s first great summer album.

This is smart, meditative music that needs the appropriate time to vest, where further listening provides new perspectives and details that weren’t as apparent at first glance.

I’ll Sleep When I’m Dead is a triumph that will, like its predecessor, take years to unpeel.

The Universal Want's strengths lie in a series of inspired moments rather than it coming together as a satisfying whole.

The songs that make up Lazaretto are the most diverse on a White album since Get Behind Me Satan, and even more impressively, the songs themselves could stand alongside those on Icky Thump and Consolers of the Lonely thanks to the wonderful arrangements.... Of course, Lazaretto, for all the growth it shows from Blunderbuss, could never be as good as the work that White rattled off from roughly 2000’s De Stijl to 2005’s Get Behind Me Satan.

Visions is beautifully conceived and executed, musically, lyrically and thematically.

There’s a melancholic elegance in Amidon’s pieces that express nuanced forms of sadness, and as demonstrated in songs like Short Life and Pharaoh, sublime chamber arrangements spruce up those feelings of sorrow.

On The Water relies less on the vocals than its predecessor. The music is more robust, adding more layers than the minimalism of before.

Chasny reveals himself to be a guitarist capable of an admirable level of intensity, if not pure technical virtuosity.

The album is a melting pot of so many brilliant musical perspectives, which could only be channelled by a band with a gleeful, wide-eyed fascination with the possibilities of their music. And they succeed in their knowing but expertly-delivered goal: to sound like no other band out there.

Ultimately, Powerplant is a hooky, candid and sharp-witted portrait of young adulthood that engages with adept effortlessness.

Even with the shifting styles under Nasty’s verses, this is the sort of explosive debut that is downright unforgettable.

They make enough changes while doing what they do best to avoid getting pigeonholed, which is more than we can ask for from a band that’s about to start a third milestone.

If we could compare each of Fuck Button’s works some sort of dazzling spectacle, whether it be a firework display, a meteor shower, falling in love, or something of the like, than Slow Focus makes a strong case for being their most brilliant event yet.

The Body's latest exercise in amplified bleakness, a blend of muck and misery whose existence almost requires a term stronger than “doom” to succinctly and conveniently explain it. To call The Body’s music “doom” is tantamount to calling the rapture an unexplained and coincidental spike in lengthy vacations.

A fuller, more measured affair, In Flesh Tones is an impeccable weaving of threads.

Throughout, I’m Not Your Man is a meandering undercurrent of predatory slyness, advancing with a slack but completely controlled swagger.

Wicked City proves that Jockstrap have nothing if not range, and secures their place as one of the UK’s most intriguing new bands.

Quiet the Room is a worthy addition comparable to Julianna Barwick's The Magic Place and The Innocence Mission's We Walked in Song, chamber folk reveries so entrenched in their own little worlds you can practically live inside them.