Edginess and quirkiness aside, the band's latest is an immaculately constructed beast that never straggles behind or overstays its welcome.

Black Up is at first mind-bending and perhaps confusing in its production and aesthetic, making it easy to lump in with fringe rap artists cLOUDDEAD. But to do so ignores the visceral qualities of the album, both in Butler's lyrics and in the production.

Andorra strikes out further, reaching deeper into Snaith’s box of musical curiosities which are, at once, tasteful and fruitfully tawdry. Phantasmagoric and stunningly organic, another crowd pleaser for fans of Daniel Snaith’s aural hallucinogens.

This lovely journey offers both lush and haunting moments without sacrificing any of the experimental edges or familiar sounds.

Wilco have had their peaks and valleys, but they have never sounded as confident as they do on The Whole Love.

Transgender Dysphoria Blues might be the most important album of the year, and its message will hopefully seep into music culture and spread till records like this don’t *have* to get made anymore.

Weathervanes is a bit of a downer. Regardless, though, it’s Isbell’s reliably exceptional songwriting, the bursting-out-of-the-gate energy of the 400 Unit (just listen to the barnburner that is “When We Were Close”), and a talent for subtle but inescapable hooks which make the doom and gloom of these songs not only bearable, but rather inviting.

Option Paralysis equivocates the maturation of musical ideas over the Dillinger Escape Plan's storied career, as Miss Machine and Ire Works are currently looking as mere test samples leading up to this point. In all, Option Paralysis is a work of art, but don't think for a second they've gone soft on us.

Nine Types of Light proves how hard this quintet can hit, experimental New Yorkers or love-sick idiots.

Major/Minor is just another testament to Thrice's ability to do no wrong.

Reset, in spite of its flaws, still offers a unique wrinkle in the Animal Collective fabric that's worth exploring. Even if you only come back for the saccharine highs, some of the record's more subtle moments will continue to tug at your ankles like a strong undertow.

Ultimately the thoroughly satisfying maturation on display is enough to overcome any lyrical shortfalls.

The band doesn’t quite manage to fire on all cylinders for the entirety of their debut LP (with a few mid-album tracks seeing the quality level slip a bit), but a good chunk of this record is absolutely fantastic, blending grit and melody with an undeniable intensity, both musically and atmospherically. All told, warts and all, this is a record which absolutely merits inclusion among the year’s finest.

When We Fall Asleep, Where Do We Go is a volatile launching pad. This is anything but a safe debut, which could make Eilish a star In her own right--in the realm of dark pop--or alternatively could see her collapse under the weight of her enormous aspirations. It’ll be a wild ride either way, with plenty of dissention along the way.

It’s another worthy addition to a burgeoning discography. It’s a wonderful feeling when an old favorite is still in a groove and pumping out quality music after so many years.

This album and a few videos of Stetson playing (the guy is a monster) will probably be enough to convince most people that he's a genius, but you don't need to be that smart yourself to appreciate what is probably 2011's most unique album.

It’s true that this is the warmest Janelle Monae has sounded in quite some time; her music now is more a magnifying glass than a mask.

Yet, for all its wonderfully dense qualities, A.A. Williams’ voice remains the star of her show. It’s as consistently powerful as it is calming: it fits tranquil acoustic soundscapes as well as devastating post-metal disintegrations.

Most of the songs here are growers, and even the one's that are supposed to be immediate tunes like "My God Is The Sun" and "If I Had A Tail", don't quite grab and hold on to our attention like "No One Knows" or "Little Sister".

Their anti-rave anthems have simply improved beyond what anyone could have possibly hoped for, and Sepalcure is set to turn a lot of heads, in and outside of its constantly argued over genre.

Átta has enough going for it to warrant an inspection from the rest of us, but it's both fairer and far more flattering to view it as the conclusion to a troubled chapter in the band's history than the enthusiastic heir to any hefty expectations you might otherwise burden it with.

Lots of artists aspire to create an album which matches the zeitgeist (easier said than done), but Mountainhead comes a lot closer than most. With its paranoid and sinister belly coalescing with the joke-y casualness of its exterior, this is yet another successful record from one of the quintessential bands of the internet age.

This is a damn good record that is worth your time. Sink into Collapse, and let it sweep you up in its collage of vast, intricate atmospheres.

A genuinely excellent plate of upbeat summer bangers. From the bedroom to the spotlight, the most surprisingly great pop album of 2021 may have already arrived.

With furious drama, callbacks to older tracks, and references to their own unwieldy name, the band’s fourth record would make for a theatrical swan song. Lord knows the revolving door that is their lineup lends itself to an unexpected and sudden demise. The World Is, however, appear to be tighter and more focused than ever before.

It's undoubtedly his most impressive collection of songs in over two decades.

In The End It Always Does is a mixed bag, but I wouldn’t describe it as a minefield; it’s more like a diamond mine and a minefield are engaged in a land dispute. Amber Bain’s ethereal vocals and meticulously crafted melodies make this an album that I certainly recommend checking out, if only for the allure of the stronger tracks that constitute a little over half of the record.

It’s an album utterly relatable because love, and heartbreak, are universal. It’s also something so amazingly personal that no one could precisely duplicate it, because every experience is specific to Tomberlin’s journey. That’s At Weddings: passion, devastation, depression , and strength rolled into one. It’s tenacious, and it’s beautiful.