No, TMLT is not as precise as The Monitor, nor as pleasurable. It does, however, surpass it in imagination and aim. This alone cements The Most Lamentable Tragedy as one of this year’s greatest rock records.

On Spiritual Songs for Lovers to Sing, Roberts and Hoorn deliver a beautiful album filled with bombastic, gothic and anthemic hymns that aim for deliverance.

Unfortunately, Night Time, My Time goes awry at “Omanko,” a grave misstep that verges on parody. From there on out, the record’s spotty.

Some passable stuff here, mostly confined to the second half.

All of the songs (minus one useless interlude) had at least something worth returning to.

In the show’s context, this soundtrack is a solid A. Evocative, thrilling, and dynamic, it’s everything you could possibly want from a TV score. On its own, it’s one of the most refreshingly forward-thinking electronic releases of the year, even if the tracklist could use some cleaning up.

The best song comes early in “Ghostface Killers”, with an excellent rapped chorus from Offset that’s been running through my head since the tape dropped and Travis Scott sounding excellent as always even if he doesn’t say much anything at all.

The height at which Oxymoron’s target is set is not very impressive, but the precision and showmanship with which it’s hit deserves commendation.

Twelve Reasons to Die is a straightforward concept album, and it’s very well done.

Fans of Marnie’s music are fully aware of what an album of hers going to bring, and on The Chronicles of Marnia, she brings it.

With each album Real Estate has sharpened this process, making Atlas both immediately recognizable and their most interesting album to date.

It doesn’t provide the thrill-a-minute jolts of Light Up Gold, but Parquet Courts may yet become a garage punk band that millennials can call our own.

So It Goes comes as close to hardcore as an album with this sonic palette can: dense, immediate, energetic, and uniquely inclusive.

The album is one giant, immaculate anachronism, unimpeachable, but rarely brave.

For the most part, Silver Gymnasium makes for an uplifting and triumphant listen, with a positive energy running through the music and the melodies.

The title may be a little hyperbolic, but what it lacks in realism it makes up for in groovy new-wave guitar licks, other-worldly instrumentation and production par excellence.

The band may love the sounds of Built to Spill and Superchunk a little too much, but they’re also far too adventurous to settle for apery, least of all on LOSE. It’s their best work yet.

This album moves and soothes, if it does anything at all.

It’s not something that plays as well in the daylight. But when it soundtracks your darker, interior night life, it’s like being given a tailored suit. Everything fits, and the sum effect is something sharp and modern.

Critically, this may not move many needles. But to casual listeners, Wild Beasts are on a mission to refine their own definition. This is must-witness music at its very finest.

For a producer who’s produced songs for a who’s who of modern artists (including the occasional non-rapper like Lana Del Rey), he mostly sticks to his guns on his debut album, which applies to both the sonics (there was no way any producer sampling Annie’s “Anthonio”--the Berlin Breakdown version--was going to be bad; that’s the ear-worming sample doing all the heavy-lifting on “Overdue”) and the features.

It grows beyond its deeply emotional roots, to become whatever you want it to be.

My Love Is Cool is volatile, but it’s also invigorating, charming, and hugely exciting for what it promises.

Deep Fantasy is an exceptionally produced collection--really, it’s probably the finest recording job you’ll hear on a rock album this year.

The fuse has been lit. London is just a prologue, but it’s an exceedingly promising one.

For the most part, Space holds it together, but there are a few moments that feel a little... moronic.

It’s an album that gives as much as it gains, both in trap-flow intensity and emotional catharsis.

This is the kind that makes you want to go back and listen to his older stuff, if only to remind you he’s capable of wonders.