Titus Andronicus have just put on a phenomenally brave and ambitious sophomore album, The Monitor.
George Clanton's brand of 90s-inspired hypnagogic pop on Slide is fresh and intriguing despite the album's concept not being taken far enough.
Suf(j)an "Subaru" Stevens comes through with an incredibly sad, personal, and subtle record with Carrie & Lowell.
With a more colorful recording, bolder experiments, and more expansive jams, Australia's Tame Impala shows nothing but improvement on their sophomore effort, Lonerism.
Drake's sounding more confident than ever on a series of somewhat minimal, dark, moody, trap-inspired pop rap beats with contemporary R&B change-ups.
On Immunity, electronic music producer Jon Hopkins focuses in on the worlds of house and techno, fusing the characteristics of these genres with some pretty atmospheric and grandiose keyboards.
Autechre may be coming from the same cold, analytical place they usually do, but Exai shows that their skills for crafting sound are stronger than ever.
Carly Rae Jepsen's latest album is a finely tuned piece of pop.
Mr. Carter kills his ego and spills the beans on his most intimate album yet.
Oxnard has a stronger sense of direction than its predecessor and is a breath of fresh air in the current state of pop rap and neo-soul.
Playboi Carti's debut album is intoxicating in its simplicity.
Lana Del Rey improves as a songwriter by leaps and bounds on NFR.
At seven tracks and just over 21 minutes, the Kanye West-helmed DAYTONA is pretty much watertight and finds Pusha T in top form.
On Arcade Fire's latest album, they take the most ambitious and immediate elements of their previous albums, and feed them into americana-style songwriting.
SZA delivers a strong full-length debut that explores the emotional complexities of being the other woman.
West Coast metal outfit Deafheaven has really improved their sound on this latest outing of theirs, delivering sharper, more triumphant compositions through a barrage of black metal-style instrumentation.