It is a legitimately excellent record that lives up to (and sometimes even exceeds) the song writing standards set by the band on "Dirt" or "Jar of Flies."

His albums are usually quite long, but this one with its near hour and a half runtime might be a chore to sit through for even the most die-hard Sun Kil Moon fans. But there are some extraordinary movements on this thing.

At its core, Embracism is a full-fledged artistic statement that's at once endearing and wildly eccentric.

Simply put, Two Fingers is pretty much everything that anyone with an interest in clubtronica has been waiting for.

Metal Galaxy is easily the best and most entertaining release of Babymetal’s career, featuring a diverse array of songs that are all capably carried by Suzuka’s proficient vocals, improved songwriting, and an excellent production.

Forcefield stands proudly on its own, a meat-and-potatoes rock record that swings for the FM fences and gets by on Monks’ considerable personality and the band’s seemingly limitless energy.

No World For Tomorrow is Coheed doing what they do best; writing an excellent album, where the songs combine for a bigger effect together than they do individually.

This album finds Kasher engaging with capitalism in a way not heard since “Dorothy at Forty”, but while that song pointed out the excesses of the stereotypical American dream, songs like “Under the Rainbow” lament the deletion of that dream from our lives.

[Maybe for] the first time, A Sleep And A Forgetting gets at the heart of an artist who, over years of project changes and name switches, has remained frustratingly opaque.

Despite being derivative, Esoteric Warfare is worthy of praise, because it keeps alive a sound practised by merely a handful of outfits, some of them sadly disbanded.

There are times where the record behaves so obtusely it could be trying to shut its own audience out (example: the conflicting rhythms in Bread directly averse to a “population of people who deal in cliché”), but finding the hidden entry points is half the fun. The other half is trying not to trip up on your way in.

While it doesn’t quite reach the songwriting highs and wrenching lows of 2006’s Nux Vomica (few things do), Total Depravity avoids the dead spots that have plagued the Veils’ last two records by ensuring that atmosphere of dread remains consistent.

The notable tracks certainly makes this far away from a failure and the record as a whole is yet another solid presentation of Frusciante's unique take on his own solo career.

Moral Panic is simultaneously the most depressing and fun rock record of 2020, and that’s got to count for something.

In all, Clash the Truth is a major step forward for Beach Fossils, and it’s certainly an album that I’m not going to forget about so easily, if ever at all.

This is music that plays well in every venue, from the late night hangouts of urban bohemia to the awkward houses of the indie disco.

Eat the Elephant is engaging, atmospheric rock done right with intelligent lyrics and ambitious themes.

A handful of jukebox-friendly hard rock tracks and a thoroughly replayable album is almost as good an outcome as could be expected from this group of aging rockers.

Born Again is easily one of the best indie-rock/dream-pop debuts to come out in years. Siggelkow’s firm handle on her sound is genuinely remarkable – it seems like she’s been doing this for decades and that Born Again is the album that finally ties it all together.

In The Rainbow Rain is an uncommonly jaunty listen.

The room for improvement only makes this consistent, catchy and accessible album all the more successful.

You Can’t Take It With You sounds like a proper album par excellence, gelling together with a cohesiveness so many strive for but never really hit.

Rich Brian didn’t need to go so hard with the image change, but as far as debut albums go, Amen is catchy, it’s not gimmicky, it’s not annoying, and there’s just enough Chigga still in there to keep things entertaining.

As a band, Yellow Ostrich is in its infancy, and it's forgiveable that they haven't quite found the best way to show their hand both as a unit and as separate entities at this stage.

Ultimately, Conduit is a fair step down from the resurgence that was Welcome Home Armageddon. But having said that, it remains a solid addition to their discography.

It's consistently great stuff--this is among the best hip-hop albums of the year by my reckoning.

The point is that MAYA has to be taken as it comes, culture jam and all, and it's precisely at this point that it works out to be one of the most refreshing albums to hit the shelves in a long, long time.

Invented reins in Jimmy Eat World after Chase This Light. It still possesses the same inviting, feel-good sentiment, but it's expressed more personably, and in this regard it makes for a very rewarding listen.